The problem of the development of speech in schoolchildren is gaining increasing social importance, since speech is a convincing indicator of the spiritual culture of an individual. The formation of civil society in Russia, the deepening of the processes of humanization of culture and education, the beginning of the process of revival of spirituality, a return to the origins and traditions of national culture, liberation from dogmatic and one-sided assessments of artistic phenomena are changing the style of communication between people, transforming it towards expanding themes, more complete use richness of oral speech, attention to the personality of the interlocutor.
The concept of speech development appears in both philosophical and psychological and scientific and methodological meanings. It is a process of mastering speech and its mechanisms that constantly occurs throughout a person’s life in direct connection with the spiritual development of the individual and the enrichment of his inner world.
The development of oral and written speech among schoolchildren is one of the core areas in the methodology of teaching literary reading. V.V. made a great contribution to the development of the problem. Golubkov, M.A. Rybnikova, N.V. Kolokoltsev, modern scientists M.R. Lvov, T.A. Ladyzhenskaya and others.
Literary reading as an academic subject that studies the art of words, creates special conditions for students to master the techniques of creative work, research and search work associated with the ability to independently solve complex problems, with critical-evaluative activities based on the material of the works of art being studied, the preparation of oral presentations and written works of various types and genres. In this kind of educational work, creative abilities are developed, schoolchildren understand the practical orientation of their work, and also evaluate their own capabilities, which increases interest in the results. Thus, a conscious attitude towards intellectual work is formed.
Well "Literary reading"(author: Efrosinina L.A., Omorokova M.I.) was developed for elementary schools and is included in the teaching and learning kit " Primary School XXI century" (supervisor N.F. Vinogradova). The leading idea of the course is to deepen the process of perception of a work of art, support and develop interest in reading. The content of the course ensures the development of a full perception of a literary work, students’ awareness of the specifics of its content, form and language, introduction students into the world of literature as the art of words, the formation of individual literary concepts and ideas.
The means of teaching literary reading include all types of speech activity - listening and reading works of fiction; speaking as a process of discussing their merits and features; letters - creative works related to assessing one’s attitude to what has been read. A characteristic feature of the program is the combination of work on reading itself, technical skills and reading skills, as well as the connection between the perception of a work, work with it and the book as a whole. There are anthologies for students of all grades, which include additional texts from works that allow children to expand their reading range and organize differentiated learning. Based on this, literary reading lessons solve not only didactic problems associated with text analysis, but also develop students’ value judgments and the ability to analyze emotional states caused by listening or reading a specific work.
The main goal of literary reading lessons is to help a child become a reader: to bring them to an awareness of the rich world of domestic and foreign children's literature as the art of literary expression; enrich the reading experience.
Objectives of literary reading lessons: develop the ability to “see” a word in a text, observe its meaning, understand why given word the writer (poet) selected how it characterizes the hero, distinguish figurative, figurative meaning, learn to use apt words and expressions in your own speech, teach understanding of the text, develop the skills of expressive reading, speech culture, and creativity.
Methods and techniques used in literary reading lessons: commenting, interpretation, analysis of content and form, expressive reading and dramatization of the work.
Students are widely involved in practical activities (underlining, marking, regrouping text), visual activities (drawing, applique, coloring), gaming techniques (working with crosswords, didactic literary games), as well as writing (adding, copying, compositions) and various forms of oral speech (composing statements, descriptions, comparative characteristics, retellings, book reviews, annotations).
Speech is a form of communication between people through language.
Speech communication organizes the joint activities of people, promotes knowledge of each other, and is an essential factor in the formation and development of interpersonal relationships. Speech is formatted in accordance with the norms of the language.
The child acquires language in the process of communicating with adults and learns to use it in speech. Speech, being a means of expressing thoughts, becomes the main mechanism of human thinking, a means of carrying out mental operations.
Speech is closely related to other mental processes: perception, memorization, reproduction. The role of speech in the imagination, in realizing one’s emotions, and in regulating one’s behavior is essential. Depending on the type of speech activity, speech is divided into external and internal, oral and written. External, or oral speech serves mainly the purposes of communication, internal speech is unpronounceable, it plays an important role in the processes of consciousness, self-awareness, and thinking.
External or oral speech can be dialogic and monologue. Dialogical or colloquial speech is usually not fully developed, because it is situational, much of it is not expressed, but is implied due to the context that is understandable to those speaking. Usually involuntary, it becomes arbitrary if the conversation and exchange of opinions is planned in advance. Monologue speech is a statement made by one person for a long time, uninterrupted by remarks (for example, the speech of a lecturer, orator). Usually requires preliminary preparation; it is designed for a specific audience. In its structure, monologue speech is close to written speech. There are special constructions that are characteristic only of oral speech (repetitions, paraphrases of individual statements, questions addressed to the audience). One of the properties of both types of oral speech is its fluency.
Teaching various types and genres of monologues on literary topics
Improving the speech activity of students requires the teacher to rely on a wide variety of types and genres of statements on literary topics, which, during teaching, create conditions for the versatile speech and aesthetic development of the student’s personality. He has the opportunity to select these genres based on the following classification of monologue statements on literary topics.
I. Reproductive utterances (paraphrases)
II. Productive statements(a detailed oral response, a message, a “word about the writer”, a story or message about a work of art (painting, sculpture, architectural building), a guide’s speech, a director’s commentary, a speech about the hero of the work, a report, poems, short stories, fairy tales, etc. ., independently composed by schoolchildren).
The main directions of work on the development of students’ speech
Methods of teaching literary reading puts forward as the main directions of development work oral speech schoolchildren:
1). Work on understanding the text.
2). Retellings of literary text.
3). Messages.
On the development of written speech in schoolchildren:
1). Reader's diary.
2). Review of the book and work on it.
3). Abstract for the book.
How to teach text comprehension
Firstly, what is "text comprehension" When working with a text, understanding begins even before reading it, unfolds as you read, and continues in reflection on what you read. From the point of view of linguistics (the theory of linguist I.R. Galperin), understanding a text is the reading of different types of text information: factual, subtextual, conceptual.
Factual information consists of a description of events, characters, place and time of action, etc. Subtextual information is not directly expressed in words. It is contained in text “holes” (gaps that the reader fills in based on existing knowledge and experience), in word-images (artistic means), in text editing, etc. Conceptual information is understood as the author’s system of views, thoughts and feelings, which he reflects in the text, counting on the reader to extract it. Of course, the text is a single whole, and the types of textual information are distinguished conventionally: in science - for research, and in practice - for educational purposes.
Directions in teaching text comprehension:
1). How to teach attention to words.
2). How to conduct a dialogue with text.
3). How to help reveal the meaning of the text.
4). How to develop the reader's imagination.
Mastering the techniques of understanding text allows weak students to feel their “power” over knowledge (“I can!”), and opens the way for strong students to new heights.
But the most valuable thing, of course, is that light with creativity, which appears in the eyes of the teacher and the children during a literary reading lesson, and the satisfaction from work that occurs when you understand and are understood.
Retellings of literary text
Retellings are the most important techniques that are used to develop the speech of primary school students. Retellings can be of the following types:
1. Detailed, which, in turn, is divided into free, those. based on the first impression and conveying it as a whole (“in your own words”), and art- close to the author’s text, aiming not only to convey the content in detail, but also to reflect the artistic features of the text.
2. Brief retelling (compressed) sets out the main content of what was read, preserving the logic and style of the source text, but omitting details, some details of the literary text. Working on a brief retelling teaches the student to select the main and essential, distinguishing them from the secondary.
3.Selective retelling is based on the selection and transmission of the content of individual text fragments united by one topic. This creates your own complete story.
4. Retelling with a change in the narrator's face offers a presentation of the content from the perspective of one or another character, from a third person. This requires a deep understanding of the character of the hero, artistic means of depicting him, and a lot of preliminary work.
Messages (report)
Messages are a type of oral monologue by students in literary reading lessons. Work on developing the skills to prepare such speeches helps to strengthen the practical orientation of teaching children's literature, equipping schoolchildren with intellectual and speech skills, developing creative abilities, and preparing for active participation in communicative activities. Messages help students deeply master literature as the art of words, develop oral and written speech in conjunction.
An analysis of the works of M.R. Lvov, N.N. Svetlovskaya, T.A. Ladyzhenskaya, T.G. Ramzaeva and others made it possible to study and formulate in more detail the basic requirements for the speech of primary school students. They are also criteria for assessing student oral and written statements:
I slurred speech. Speech should be accessible to the listener and focused on the perception of the addressee. The speaker takes into account the capabilities, interests and other qualities of the addressee. Speech is harmed by excessive confusion and excessive complexity of syntax. Speech must be communicatively appropriate in any situation and depend on the purpose of the statement and the conditions for the exchange of information.
Expressiveness of speech , quality that involves influencing the listener through vivid language and persuasiveness.
Correctness of speech. This quality is ensured by compliance with the literary norm (grammatical, spelling - for oral speech).
Wealth of linguistic means. The ability to choose in different situations various synonyms and sentence structures that best convey the content.
Speech accuracy. This requirement presupposes the ability not only to speak, but also to choose the optimal linguistic means for the intended purpose - such words, phrases, phraseological units that most accurately convey the student’s thoughts and feelings.
Logic of speech. Speech should be consistent, clearly constructed, connected in its parts. Logicality presupposes the validity of conclusions, the ability to begin and complete a statement.
Written speech
Records of what you read. Reader's Diary
Cicero said: "The pen is the best teacher." Working with a book requires the ability to read, write down your thoughts about what you read, and make extracts from the text.
Extracts will help you better understand the contents of the book, evaluate it, and remember it for a long time. It seems like a completely forgotten book, only its title remains in my memory, but as soon as you look at your notes, even the shortest ones, whole pages and images of your favorite characters come to life. Extracts can be verbatim, then they are called quotes or free, when the author’s thoughts are presented by the reader independently. Large passages of text that are difficult to quote in full should be tried to be written down in your own words.
The forms for recording what you read are varied. In addition to extracts from books, there is a reader's diary. Reader's Diary- a person’s reading biography, a method of long-term preservation of information about books read, one of the methods for in-depth perception of fiction, a way of developing schoolchildren’s thinking and writing.
Form of keeping (approximate) diary:
- Author. Title.
- Book reading time.
- Subject.
- The main characters of the work.
- Impressions caused by the book.
- Lines that I especially liked.
Records of what you read. Review of the book
A review is a response, an echo, an opinion. At school, a review is understood as a special type of essay in which a student talks about his reaction to a particular literary work. The review values the reader’s subjective view, dictated by the personal perception of the text. By talking about his impression of a book, the reader, one way or another, talks about himself. He supplements the book with his memories, guesses, and ideas.
The connection between perception and a person’s inner world makes a reader’s review an indispensably valuable document for a teacher. The review shows a person at the moment of his happy rapprochement with art. It reveals that individuality in the reader’s inner world, without which personal contact with him on the basis of literature is impossible.
Analysis of children's reader reviews allow us to distinguish a number of varieties:
Review-response. A characteristic feature is pronounced enthusiastic emotionality.
Feedback-confession. Responding to what he read, the student often talks about himself, about his life, shares doubts that trouble him, and tries to solve for himself some important life questions that the book prompted.
Feedback-reflection. It is distinguished by self-disclosure, the author’s desire to understand himself in the context of the book he has read.
Review-recommendation. The story about what has been read is addressed to a potential reader, whom the author is trying to interest in the book.
Review-detail. The reader's attention in the book is focused on a certain little detail, which seems significant to him and reveals something to him in life. He writes about this in his review. Feedback-association. Starting from a book that has captured the imagination, the reader begins to create himself, supplementing the text with his own images or entire situations.
Review-memory: “When I was 5 years old and my sister was 7, my mother first introduced us to R. Kipling’s amazing book “Mowgli.” On long winter evenings our small apartment turned into a jungle with vines, my sister - into Bagheera, my mother - into mother Wolf, dad - father Wolf, and I - little Mowgli. Mom sat us around her, wrapped us in a warm blanket and read in a quiet voice: And I forgot about everything in the world! "
Several types of children's reader reviews are named here. They do not exhaust their diversity. The list could be expanded to include review-dream, review-reflection, review-reincarnation and many others. And no matter how naive they may be, they are all interesting in their own way and bear the stamp of the individuality of their authors, the image of the inner world of a reading child. Feedback from younger schoolchildren is brief and accompanied by drawings.
How to write a book review
Reading well means properly understanding and thinking about what you read.
A review of a book is a thoughtful personal opinion, a person’s judgment about a book he has read, containing an assessment of the actions of the characters and the events taking place.
It is worth not only writing down the author’s thoughts, but also your own, which arise in you while reading the book. This is a prerequisite for serious work with the book. The thoughts that arise when we think about books are often very valuable. The more of our own thoughts, knowledge, emotions are involved in the work, the better the result.
You can write down your thoughts about the books you read in a special “personal” notebook. It will be your personal reading diary. Just don’t forget to write down bibliographic information about the book (a set of information about the book, arranged in a certain order).
And most importantly: learn to evaluate every book you read by analyzing the actions of its characters.
A sample plan for reviewing a book you’ve read:
1. Author, title, genre of the book.
2. Who do you think would be interested in the book?
3. Time and place of action of the book. What is it about (do not retell all the contents)?
4. The main characters of the book.
5. How does the book begin? How intriguing is the plot?
6. What is the conflict? How interesting and important did you find it for modern life? What problem does the author pose in the book?
7. What is interesting about the book as a whole?
8. Which episode did you especially like or remember? Why?
9. Which characters in the book did you find particularly interesting? Which of the heroes did you like more? Why?
10. What impression did the author’s language and style make?
11. What is your reader’s opinion, feeling, thoughts about the book? What did reading this book give you?
Some points of the plan for primary school students can be omitted (at the discretion of the teacher).
What is an “abstract” and how to write it?
An abstract is a small coherent description and assessment of the content and structure of a book or article. Working on an abstract helps you navigate a number of sources on one topic, as well as when preparing a literature review. We recommend: before writing an annotation, read the text and break it into semantic parts, highlight the main idea in each part and formulate it in your own words.
List the main thoughts, problems raised by the author, his conclusions, suggestions. Determine the significance of the text.
The abstract usually consists of two parts. The first part formulates the main theme of the book or article; the second part lists (names) the main provisions.
Learning how to write an annotation on your own should begin by entering the missing words, expressions and sentences into a sample annotation. Students receive a sheet of paper with an annotation with gaps, and independently write in the missing words. Here is an example of an annotation with omissions for L. Andreev’s story “Bite”:
The story "_________" was written by the Russian writer __________. In _______ L. Andreev talks about __________________________. The writer with ___________________ talks about ________ and ______________.
Below the annotation, students can optionally make an illustration drawing for the work.
Conclusion
In literary reading, a primary school graduate must be able to distinguish between types of retelling (detailed, brief, selective); divide the text into semantic parts and draw up a simple plan, using it to tell the story; determine the topic, explain the development of events in the text, find the main idea of the work and relate it to the title; describe the characters (their actions and characters), your attitude to what you read. It is impossible to teach all this without developing the child’s speech.
We must develop the speech of a primary school student at every literary reading lesson: and when working with words (the child must understand the word, distinguish its figurative, figurative meaning, and then skillfully use it in his own speech); and when working with text (be able to perceive the text, understand the meaning of what you read, recreate in your imagination what you read, reproduce the text). The most important condition for literary education is the development of speech.
In my work I used the following literature:
- Conversations with the teacher (teaching methods): Fourth grade of a four-year elementary school / Ed. L.E. Zhurova. - M.: Ventana-Graf, 2001.
- Olga Soboleva. Happiness is when you understand // Newspaper "Primary School", 2003, No. 25,26.
- Politova N.I. Speech development of primary school students in Russian language lessons / Teacher's Manual. - M.: Prosveshchenie, 1984.
- Four-year primary school programs: Project "Primary School of the 21st Century" / Project leader prof. N.F. Vinogradova. - M.: Ventana-Graf, 2003.
Introduction
The task of a modern school is the formation of a versatile, developed personality, the development individual abilities child. Without the priority of school development, the process in the field of education, upbringing of the individual, its humanization, and individualization is absolutely impossible.
One of the means of developing both personality and literary creativity is literature for children (poems, prose, short stories, riddles, fables, fairy tales). A book is a diverse object for upbringing and education; a child of primary school age without special education is almost unaware of its features. It is the book that is the source of everything smart, kind, beautiful that is on earth, it is literature that is able to penetrate into the spiritual world of a person, the world of his thoughts, feelings, it creates certain irreplaceable values. Literature is the environment that grows and nourishes the literary creativity of an individual.
The nature and strength of the influence of works on people depends not only on the ideological artistic qualities of the work itself, but also on the characteristics of the reader.
The development of literary creativity is one of the important tasks of education in general and primary education in particular. After all, the process of imagination permeates all stages of the development of a child’s personality, awakens initiative and independence in decision-making, and the habit of free self-expression. Psychologists and teachers worked on the problem of developing imagination in the creativity of younger schoolchildren: L.S. Vygotsky, R.V. Ovcharova, V.A. Skorobogatova, L.I. Konovalova, M.G. Lvov, T.A. Ladyzhenskaya, M.S. Soloveichik, V.A. Levin, V.G. Goretsky, L.F. Klimanova and many others. etc.
Primary education is one of the most important links in the general system of public education. Mastering the state Russian language is one of the most important acquisitions for a child. Therefore, the process of speech development is considered in modern education as the general basis for raising and teaching children.
At the end of the twentieth century, a huge avalanche of borrowed terms from foreign languages began to pour into our lives, which threatens the language, and therefore culture. Therefore, the problem of developing the speech of children in primary school through small forms of folklore today is of particular importance.
The people carefully accompanied with poetic words every stage of the child’s life, all aspects of his development. This is a whole system of traditional rules, principles with the help of which a child is raised in a family. The core of this system was and remains the oral folk word, passed on from century to century, from family to family.
Psychologists and methodologists note that a child learns his native language, first of all, by imitating the spoken speech of others (D.B. Elkonin, R.E. Levina, A.P. Usova, E.I. Tikheeva, etc.). Unfortunately, parents nowadays, due to difficult social conditions and being too busy, often forget about this and leave the process of their child’s speech development to chance. The child spends more time at the computer than in a live environment. As a result, works of folk art (lullabies, pesters, nursery rhymes) are practically not used even at a young age, not to mention children of six or seven years old.
K.D. Ushinsky noticed that families know fewer and fewer rituals and forget songs, including lullabies. This is becoming even more relevant these days.
In the practice of school education, one can observe the following picture: when introducing younger schoolchildren to small folklore forms, the content aspect is often put forward, and no attention is paid to genre and linguistic features. Their use often comes down to memorizing proverbs, nursery rhymes, and riddles. Teachers rarely use these forms in speech development classes with children.
Therefore, there is a need to develop methods for developing children’s speech using small forms of folklore. This process should take place not only in specially organized classes, but also in Everyday life school educational institution. To solve this problem, it is important that teachers are interested, and children are active subjects of this process (showing interest and independence in acquiring additional knowledge).
General theoretical issues of speech development in children of primary school age are discussed in the works of D.B. Elkonina, A.N. Gvozdeva, L.S. Vygotsky and others.
Yu.G. studied some aspects of the speech development of preschool children using small forms of folklore. Illarionova, E.I. Tikheyeva ,F. Sokhin, A.M. Borodich, S.S. Bukhvostova, O.S. Ushakova, A.P. Usova, A.Ya. Matskevich, I.V. Chernaya, K.D. Ushinsky, Ya.A. Komensky, E.N. Vodovozova, M.K. Bogolyubskaya, V.V. Shevchenko, N.V. Shaidurova, O.I. Davydova, N.V. Kazyuk et al.
Currently, a fairly large number of different partial programs for the use of traditional culture in the educational process have appeared. Among them, I would like to highlight the “Heritage” program edited by M.Yu. Novitskaya, “Amulet” by E.G. Boronina, “Introducing children to the origins of Russian folk culture” O.L. Knyazeva and many others.
At the same time, even in training programs for first-graders, there is no developed specific content for the methodology of speech development using small forms of folklore, there is no definition and qualitative characteristics of the levels of speech development in this area. As a result, teachers are forced to look for separate ways to develop speech, through small forms of folklore, without focusing on clear theoretical and methodological principles.
A contradiction arises between the potential capabilities of small forms of folklore in the speech development of first-graders and the insufficient provision of teachers with methods for developing children's speech using small forms of folklore.
The identified contradiction points to the problem of developing a comprehensive methodology for developing the speech of primary school students using small forms of folklore. The solution to this problem is purpose of the study: to identify optimal conditions for literary creativity and speech development of first-graders in literary reading lessons.
Object of study- the process of speech development and literary creativity of students in a primary school educational institution.
Subject of study- the process of speech development and literary creativity in reading lessons.
The purpose, object and subject of the study determined the need to formulate and solve the following tasks:
.To analyze the psychological and pedagogical foundations of speech development in children of primary school age.
.Study of literature, methodological recommendations related to literary creativity and activities of schoolchildren.
.To determine the main methods and forms of using small forms of folklore in the process of speech development and literary creativity of primary schoolchildren and to develop a methodology for their integrated application.
.To trace the dynamics of changes in the level of speech development in the process of experimental work.
Hypothesis.If you use the whole variety of available methods and techniques aimed at developing literary creativity and activating the imagination of a primary school student in creativity lessons, and do this in a system, you can achieve a deeper perception of children’s works, as well as increase the level of speech development and the level of development of creative abilities.
Methodological basisresearch compiled theories of the development of children's speech (K.D. Ushinsky, E.I. Tikheyeva, A.P. Usova, M.M. Alekseeva, V.I. Yashina, F.A. Sokhin, A.M. Borodich, etc. .); psychological and pedagogical studies of speech features (D.B. Elkonin, A.N. Gvozdev, L.S. Vygotsky, etc.).
When considering the state of the problem under study, methods such as analysis of psychological and pedagogical literature, a comprehensive method for diagnosing speech development, experiment, observations, questionnaires for parents, quantitative and qualitative analysis of the data obtained were used in practice.
1. Theoretical foundations for the development of students’ speech in reading lessons
1.1 Development of speech of primary schoolchildren as a psychological and pedagogical problem
During its development, children's speech is closely related to the nature of their activities and communication. The development of speech goes in several directions: its practical use in communication with other people is improved, at the same time speech becomes the basis for the restructuring of mental processes, a tool of thinking.
But the assimilation of words in childhood could also have a creative aspect: after all, many words were new and unusual for the child, he could have his own words and meanings, which were subsequently brought in accordance with the language norm.
Creativity is not a surge of emotions, it is inseparable from knowledge and skills; emotions accompany creativity, increase its tone, captivate the creative person, and give him strength. But only strict, proven knowledge and skills awaken the creative act, lead it along the right path, ensure results, true creation. Unfortunately, there are many cases where creativity was understood as the negation of the old, its destruction, and untested methods, technologies, priorities, and structures were introduced.
The main thing in the pedagogy of creativity is not to let God’s gift fade away, not to prevent the “mysterious flower of poetry” (L.N. Tolstoy) from blooming in the soul of a child, schoolchild, or aspiring master. The ability and readiness for creativity become a human personality trait, creativity (from the Latin creatio - creativity, creation).
Therefore, in the matter of upbringing and education, the concept of “creativity” is usually associated with the concept of “ability.” Those children who meet the criteria for giftedness are most prepared for creativity, namely:
accelerated mental development: cognitive interests, observation, speech, intelligence, original problem solving;
early specialization of interests, intelligence, emotions: passion for music, folk languages, visual arts, etc.;
activity, initiative, desire for leadership, perseverance and strengthening to achieve the set goal;
good memory, developed cognitive skills;
readiness and ability for performing activities;
the condition for creativity is non-creative activity, for a true creator-worker does not neglect painstaking work and deep knowledge.
The spiritual world of a person (at any age) is not only intellect, not only thinking and speech, but also the world of emotions, imagination and dreams, moral feelings and conscience, the world of faith in goodness, communication with oneself, an intuitive understanding of the feelings of another person and so empathy. Children can be very sensitive and understand much more than adults think.
Is creativity compatible with learning, especially elementary education?
We proceed from the assumption: creativity is accessible to children, moreover: it revives the cognitive process, activates the cognitive personality and shapes it. If we keep in mind the subject - the native language, then children’s creativity is also possible when perceiving readable works of art, during their expressive reading, retelling, especially in dramatization; in various types of composition, language games and compilation of dictionaries, in modeling language phenomena.
The native language at school is an instrument of knowledge, thinking, development, it has the potential for creative generalization.
Through language, the student masters the traditions of his people, their worldview, and ethical values; through language he becomes familiar with the greatest treasures - Russian literature and the literatures of other peoples. Reading books opens up a new charge of knowledge for the student. Language introduces a child to social life, gives him the opportunity to communicate with both those close and distant: concepts are learned through words, while thought and speech are built in forms. Each long speech act is a resolution of the situation, i.e. creative act. The concept of scale is applicable to a statement: the richer the content and means of expression, the higher the creative element in it.
Language and speech introduce a person to various creative fields, being a means of research, science and design, a means of performing arts - vocal, theatrical, oratory. Language is a means of literary creativity: poetry, prose, journalism. Before speech has oral and written forms - the first involves improvisation, the second can be edited and improved.
Inexhaustible reserves of creativity lie in the vocabulary of the Russian language, in its phraseology - the semantization of words, in the study of their formation and etymology, in the analysis of shades of meaning and features of the use of words in the text. Linguistic analysis of a literary text is always research, always creativity. How fascinated children are with the study of proverbs, sayings, and popular words.
According to V.S. Mukhina and L.A. Wenger, younger schoolchildren, like older preschoolers, when they try to tell something, a speech structure typical for their age appears: the child first introduces the pronoun (“she”, “he”), and then, as if feeling the ambiguity of his presentation , explains the pronoun with a noun: “she (the girl) went”, “she (the cow) gored”, “he (the wolf) attacked”, “he (the ball) rolled”, etc. This is an essential stage in a child’s speech development. The situational way of presentation is, as it were, interrupted by explanations focused on the interlocutor. Questions about the content of the story at this stage of speech development evoke a desire to answer in more detail and clearly. On this basis, intellectual functions of speech arise, expressed in “internal monologue,” in which a conversation takes place, as it were, with oneself.
According to A.M. Leushina, as the circle of contacts expands and as cognitive interests grow, the child masters contextual speech. This indicates the leading importance of mastering the grammatical forms of the native language. This form of speech is characterized by the fact that its content is revealed in the context itself and thereby becomes understandable to the listener, regardless of his or her consideration of a particular situation. The child masters contextual speech under the influence of systematic training. In elementary school classes, children have to present more abstract content than in situational speech; they have a need for new speech means and forms that children appropriate from the speech of adults. Over time, the child begins to use either situational or contextual speech more and more appropriately, depending on the conditions and nature of communication.
A.M. Leushina believes that the development of coherent speech plays a leading role in the process of speech development of primary schoolchildren. As the child develops, the forms of coherent speech are restructured. The transition to contextual speech is closely related to mastery of the vocabulary and grammatical structure of the language.
In first-graders, coherent speech reaches a fairly high level. The child answers questions with fairly accurate, brief or detailed (if necessary) answers. The ability to evaluate the statements and answers of peers, supplement or correct them is developed. However, children still more often need a previous teacher model. The ability to convey one’s own in a story emotional attitude their understanding of the objects or phenomena described is insufficiently developed.
And yet a significant vocabulary accumulates, increases specific gravity simple common and complex sentences, children develop a critical attitude towards grammatical errors and the ability to control their speech.
According to D.B. Elkonin, the growth of vocabulary, as well as the acquisition of grammatical structure, depend on living conditions and upbringing. Individual variations here are greater than in any other area of mental development:
in V. Stern's research, five-year-old children have a vocabulary of 2200 words, and six-seven-year-old children have a vocabulary of 2500-3000 words.
in Smith's research, five-year-old children have a word count of 2072, a word growth of 202, five-six-year-old children have 2,289 with a word growth of 217, six-year-old children have 2,589 with a word growth of 273.
The vocabulary represents only construction material, which only when combining words in a sentence according to the laws of the grammar of the native language can serve the purposes of communication and knowledge of reality.
After three years, intensive mastery of complex sentences connected by conjunctions occurs. Of the total number of conjunctions acquired up to seven years, 61% are acquired in the period after three years. During this period, the following conjunctions and allied words are learned: what, if, where, how much, which, how, so that, in what, although, after all, after all, or, because, why, why, why. The assimilation of these conjunctions, which denote a wide variety of dependencies, shows the intensive development of coherent forms of speech.
The intensive acquisition of the native language in preschool age, which consists of mastering its entire morphological system, is associated with the child’s extreme activity in relation to language, expressed, in particular, in diverse word formations and word changes made by the child himself by analogy with already acquired forms.
K.I. Chukovsky emphasizes that in the period from two to five years the child has an extraordinary sense of language and that it is this and the child’s associated mental work on language that creates the basis for such an intensive process. There is an active process of mastering the native language. “Without such a heightened sense for the phonetics and morphology of words, the bare imitative instinct alone would be completely powerless and could not lead dumb infants to full mastery of their native language.”
The basis on which language acquisition is built is focusing on the sound form of a word. A.N. Gvozdev notes the appearance in the fifth year of a child’s life of the first attempts to comprehend the meanings of words and give them an etymological explanation. He points out that these attempts are made by the child on the basis of comparing some words with other consonant words. This leads to erroneous approaches. For example, the word “city” is closer to the word “mountains”. That is, semantic interpretation follows the sound comparison. Sufficient comprehension of speech appears only in the process of special training.
A.V. Zakharova found that throughout preschool age the number of relationships expressed by each case increases significantly. Progress lies in the fact that in speech, with the help of case forms, more and more new types of objective relations are expressed in various ways. In older preschoolers, time relations, for example, begin to be expressed by the forms of the genitive and dative case.
Case forms at this age are formed entirely according to one of the types of declension. They are already completely oriented towards endings in the nominative case and, depending on how they pronounce it, they produce forms - according to the first or second type. If the unstressed ending was perceived and pronounced by them as “a,” they used endings of the first declension in all cases. If they accepted the endings in the reduced “o”, then they reproduced the endings of the 2nd declension in all cases.
Thus, by the beginning of school age, by the 1st grade, the child’s orientation towards the sound form of nouns is quite clearly expressed, which contributes to the assimilation of the morphological system of the native language.
The child’s mastery of grammar is also expressed in mastering the composition of speech. In first grade, according to S.N. Karpova, a relatively small number of children cope with the task of isolating individual words from a sentence. This skill develops slowly, but the use of special training techniques helps to significantly advance this process. For example, with the help of external supports, children isolate the words offered to them (except for prepositions and conjunctions). The most important thing is that they transfer methods of analysis developed with the help of external supports to action without them. Thus, mental action is formed.
This skill is extremely important, since it creates the prerequisites for the child to master not only the forms of individual words, but also the connections between them within a sentence. All this serves as the beginning of a new stage in language acquisition, which D.B. Elkonin called it actually grammatical in contrast to pre-grammatical, which covers the entire period of language acquisition before the start of schooling.
Thus, in the speech of first-graders, the number of common sentences with homogeneous members increases, and the volume of simple and complex sentences increases. By the end of preschool childhood, the child masters almost all conjunctions and the rules for their use. However, even for children entering first grade, the bulk of the text (55%) consists of simple sentences, which is confirmed in the research of L.A. Kalmykova. An important point in the development of speech of children of senior preschool age is an increase in the number of generalizing words and the growth of subordinate clauses. This indicates the development of abstract thinking in older preschoolers.
By the first grade, the child has already mastered the complex system of grammar to such an extent, including the most subtle patterns of syntactic and morphological order operating in the language, that the acquired language becomes truly native to him.
As for the development of the sound side of speech, by the first grade the child correctly hears each phoneme of the language, does not confuse it with other phonemes, and masters their pronunciation. However, this is not yet enough for the transition to learning to read and write.
Almost all psychologists and methodologists who have dealt with these issues unanimously emphasize that for this it is very important to have a clear understanding of the sound composition of the language (words) and be able to analyze it. The ability to hear each individual sound in a word, to clearly separate it from the next one, to know what sounds a word consists of, that is, the ability to analyze the sound composition of a word, is the most important prerequisite for proper literacy training. Learning to read and write is the most important stage in the development of awareness of the sound side of language.
A.V. Detsova believes that the task of isolating sounds in a word, despite its difficulties, is feasible for a first grader. She suggested that the inability to isolate sounds in a word is not an age-related feature, but is connected only with the fact that no one sets such a task for the child, and he himself does not feel the need for it in the practice of verbal communication. Research data by A.V. Detsova is shown that already in senior group kindergarten Children can not only recognize this or that sound in a word, but also independently identify sounds. In the first grade, with specially organized training, children relatively easily master the sound analysis of words.
Thus, in preschool and primary school age, a child reaches a level of language acquisition when language becomes not only a full-fledged means of communication and cognition, but also a subject of conscious study. This new period of knowledge of linguistic reality by D.B. Elkonin called it a period of grammatical language development.
Psychologists (D.B. Elkonin, A.N. Gvozdev, L.S. Vygotsky, etc.) and methodologists (O.S. Ushakova, O.M. Dyachenko, T.V. Lavrentieva, A.M. Borodich, M. M. Alekseeva, V. I. Yashina, etc.) highlight the following features of speech development in older preschoolers and first-graders:
1.Sound culture of speech.
Children of this age are able to clearly pronounce difficult sounds: hissing, whistling, sonorant. By differentiating them in speech, they consolidate them in pronunciation.
Clear speech becomes the norm for them.
Children improve their auditory perception and develop phonemic hearing. Children can distinguish between certain groups of sounds and select words that contain given sounds from a group of words and phrases.
Children freely use means of intonation expressiveness in their speech: they can read poetry sadly, cheerfully, solemnly. In addition, children at this age already easily master narrative, interrogative and exclamatory intonations.
Older preschoolers and younger schoolchildren are able to regulate the volume of their voice in different life situations: answer loudly in class, talk quietly in public places, friendly conversations, etc. They already know how to use the tempo of speech: speak slowly, quickly and moderately under appropriate circumstances.
Children have well-developed speech breathing: they can draw out not only vowel sounds, but also some consonants (sonorant, hissing, whistling).
Children can compare the speech of peers and their own with the speech of adults, discover inconsistencies: incorrect pronunciation of sounds, words, inaccurate use of stress in words.
2.The grammatical structure of speech.
Children's speech is saturated with words denoting all parts of speech. At this age, they are actively engaged in word creation, inflection and word formation, creating many neologisms.
In older preschool and primary school age, children make their first attempts to voluntarily use grammatical means and analyze grammatical facts.
First-graders begin to master the syntactic side of speech. True, this is difficult, and therefore the adult, as it were, leads the child, helping him establish cause-and-effect and temporal connections when examining objects.
Children of this age can independently form words by choosing the desired suffix.
First-graders develop a critical attitude towards grammatical errors and the ability to control their speech.
At this age, the proportion of simple common sentences, compound and complex sentences increases.
3.Lexical side of speech.
By the age of six or seven, the technique of comparing and contrasting similar and different objects (in shape, color, size) becomes firmly established in children’s lives and helps them generalize features and identify the significant ones. Children freely use generalizing words and group objects into categories based on gender.
The semantic side of speech develops: generalizing words, synonyms, antonyms, shades of meaning of words appear, precise, appropriate expressions are chosen, words are used in different meanings, adjectives and antonyms are used.
4.Coherent speech (is an indicator of the speech development of younger schoolchildren).
Children understand what they read well, answer questions about the content and are able to retell fairy tales and short stories.
Children are able to construct a story based on a series of pictures, outlining the beginning, climax and denouement. In addition, they can imagine the events that preceded what is depicted in the picture, as well as those that followed, that is, go beyond its limits. In other words, children learn to compose a story on their own.
Children are already able to not only see the main and essential things in a picture, but also notice particulars, details, convey the tone, landscape, weather conditions, etc.
Children can also give a description of the toy, create a story about one or more toys, or show a story - a dramatization of a set of toys.
In dialogical speech, children use, depending on the context, a short or extended form of utterance.
The most striking characteristic of the speech of children of the sixth year is the active development of different types of texts (description, narration, reasoning).
In the process of developing coherent speech, children begin to actively use various types of connections between words within a sentence, between sentences and between parts of a statement, while respecting its structure.
Thus, we found out the features of speech development in children of senior preschool and primary school age. They are characterized by a fairly high level of speech development. Next, we consider it necessary to find out how appropriate it is to use small forms of folklore for the development of children’s speech and, first of all, what are the features of understanding small forms of folklore by older preschoolers, and what difficulties we may encounter.
1.2 Literary creativity as a means of developing the speech of primary schoolchildren
The poetic figurative word seems to accumulate all the colors and diversity of forms of the objective world. The writer creates new pictures of life with the help of words; he consolidates in figurative speech its fast-flowing movement, its zigzags, kinks, transitions, connections, relationships.
If a writer “chains” life’s impressions into words, then the reader, to a certain extent, takes the opposite path: he, as it were, “unchains” these writerly impressions and experiences, restoring their natural structure in his consciousness. The more subtly he understands figurative speech, the wider his associations, the more vivid his ideas, the deeper his figurative generalization.
The process of developing the speech of a child or schoolchild should include the perception and understanding of artistic speech as an obligatory element, since along with its development, more and more new horizons of aesthetic knowledge of reality open up.
Accordingly, artistic (figurative) speech is a factor that forms and improves many mental functions of a growing person (for example, recreating imagination, observation, emotional and figurative memory and, of course, certain qualities of thinking).
In the process of reading and perceiving fiction, enriching life experience, and the stock of necessary knowledge, the child’s ability to think in verbal and artistic images develops and strengthens. Essentially, this ability connects the general development of a person with special development, with the formation of particular literary abilities. The dialectical connection between general and special development must be kept in mind when it comes to the upbringing and training of a schoolchild. Secondary school for the most part does not prepare a writer, not literary critic, not a literary critic (for all this is possible only at the level of higher professional education), but a qualified and educated reader of fiction. All who have completed this teaching at school, without becoming professional writers and poets, become qualified readers, regardless of their chosen profession and occupation. This dependence was successfully expressed in her time by M.A. Rybnikov in a unique formula: “From a little writer to a big reader.”
The complex structure of thinking in verbal and artistic images is uniquely revealed in the process of reader perception. In the broad sense of the term “artistic perception” Moldavskaya N.D. joins P.M. Jacobson, who writes: “The fact is that we very often use the term “perception” in two meanings. We are talking about perception in the narrow sense of the word, as well as in its broad sense, implying various acts of thinking, interpretation, and finding connections in the process of perceiving an object.”
V.F. Asmus, in the article “Reading as Work and Creativity,” reveals the perception of a literary work as a complex process: “The reader’s mind is active while reading. He resists both hypnosis, which invites him to accept images of art as a direct manifestation of life itself, and the voice of skepticism, which whispers to him that the life depicted by the author is not life at all, but only a fiction of art. As a result of this activity, the reader carries out a kind of dialectic in the process of reading. He simultaneously sees that the images moving in his field of vision are images of life, and understands that they are not life itself, but only its artistic reflection.” The activity of the reader's mind is a specific activity that combines the efforts of thinking, memory, imagination, aesthetic and moral feelings and many other mental processes.
Based on a broad understanding of the term “perception,” we can define literary development as a process of qualitative changes in the ability to think in verbal and artistic images, which is revealed both in reader perception and in literary creativity itself.
An excellent feature of the literary reading program is the introduction of its content section: “The experience of creative activity and the experience of a directed emotional-sensual attitude to reality.” The introduction of such a section into the program led to the inclusion in the learning process of those techniques and methods of activity for children that help them perceive a work of art based on the manifestation of their own creative abilities, because reading is, first of all, co-creation. Literature is one of the most complex, intellectual forms of art, the perception of works of which is indirect; when reading, a person receives the greater pleasure from artistic images, the brighter the ideas that arise in him during the reading process. The nature and completeness of perception of a literary work are largely determined by concrete sensory experience and the child’s ability to recreate verbal images that correspond to the author’s text.
Thus, the course of literary reading pursues the solution of the following tasks:
develop in children the ability to fully perceive a work of art, empathize with the characters, and respond emotionally to what they read;
teach children to feel and understand the figurative language of a work of art, to develop a figurative solution;
to develop the ability to recreate artistic images of a literary work, to develop the creative and reconstructive imagination of students;
ensure the development of students’ speech and actively develop speech skills, reading, listening skills, etc.
As we see, all of the above tasks are solved only on the basis of the active creative activity of students with the help of imagination.
It is known that art arose in the history of civilization in order to develop and support the fundamental fundamental human ability - imagination. A person without imagination cannot understand another person. To act in different situations that arise at every step, you need imagination - you need to imagine, imagine yourself in a different situation.
In order to promote children’s development, it is necessary to abandon the well-known stereotypes of work in reading lessons and direct it so that students perceive and value literary words as irreplaceable, the deep content of which must be thought about. So that reading each new work or rereading a previously known one would be a new discovery for them, would evoke the work of the soul - feelings, imagination, would affect their life experience, that is, would capture their personality.
Literary creativity is the literary activity of a person, which consists in the creation of new literary works of social significance and spiritual values with the help of the spoken and written word.
The genre range of reading books is unusually wide. After analyzing, we came to the conclusion that children get acquainted with the genres in the lesson: nursery rhymes, jokes, fables, flip-flops, counting rhymes, riddles, proverbs, Russian folk songs, boring fairy tales, ditties, lullabies, chants, sentences, teasers, tongue twisters, horror stories ; myths, legends, fairy tales, epics, ballads, traditions; story, riddles, poems.
Proverbs and sayings, like another genre of oral folk art, in artistic images recorded the experience of life lived in all its diversity and inconsistency. V.P. Adrianova-Peretz notes that in a generalized judgment about typical phenomena they resort to the most stable part of the vocabulary of the national language, there are no embellishments in them, the idea is conveyed only by the most necessary and, moreover, precisely selected words. In addition, as noted by N.A. Dmitriev, what is expressed in words is already more or less understandable and explainable, “certainty, clarity, plasticity” of artistic speech is the certainty of the expressed spiritual state: thoughts, feelings, impressions, moods, experiences.
Using In their speech, proverbs and sayings, children learn to express their thoughts and feelings clearly, concisely, expressively, coloring their speech intonationally, they develop the ability to creatively use words, the ability to figuratively describe an object, and give it a vivid description.
A riddle is one of the small forms of oral folk art, in which the most vivid, characteristic signs of objects or phenomena are given in an extremely concise, figurative form. Solving riddles develops the ability to analyze, generalize, forms the ability to independently draw conclusions, inferences, the ability to clearly identify the most characteristic, expressive features of an object or phenomenon, the ability to vividly and succinctly convey images of objects, and develops a “poetic view of reality” in younger schoolchildren.
In order for children to quickly master the descriptive form of speech, it is necessary to draw their attention to the linguistic features of the riddle, teach them to notice the beauty and originality of an artistic image, understand what speech means it is created by, and develop a taste for precise and figurative words. Taking into account the material of the riddle, it is necessary to teach children to see the compositional features of the riddle, to feel the originality of its rhythms and syntactic structures.
For these purposes, the language of the riddle is analyzed and attention is paid to its construction. The teacher needs to have several riddles about one object or phenomenon in stock in order to show children that the images and expressions they found are not isolated, that there are many opportunities to say differently and very succinctly and colorfully about the same thing. Mastering the skills of descriptive speech is more successful if, along with riddles, literary works, illustrations, and paintings are taken as examples.
So, through riddles, children develop sensitivity to language, they learn to use various means, select the right words, gradually mastering the figurative system of language.
1.3 Peculiarities of understanding small folklore forms by first-graders
It is known that preschoolers have difficulty understanding and interpreting the meaning of proverbs and sayings. This is also emphasized in the studies of N. Gavrish. Some children can only tell who they are talking about, for example: “It’s about Vanya” (“There are pebbles everywhere for poor Vanya”), “About Emelya, he’s driving slowly” (“Emelya is driving, but wait a week for him”), “About the hare and a wolf” (“To a cowardly bunny and a stump - a wolf”), that is, to recreate a visual single image that corresponds to a specific situation. The abstract essence of the proverb remains closed to the child.
Children make associations, often not to the content of the entire proverb, but to some individual word from it, and this makes it difficult to break away from a specific situation and move on to a generalized image. For example, about the proverb “Emelya is going…” - “This is about Emelya, he caught a pike”; “Emelya is lying on the stove, but doesn’t want to go to the Tsar.” About the proverb “To a cowardly bunny...” - “A wolf means a stump, and a bunny sat on it”; "The wolf sits on a tree stump." About the proverb “To poor Vanyushka...” - “When Vanyushka walks along the road, and there are only stones under his feet”; “When there were no toys yet, then children played with pebbles.”
However, G. Klimenko argues that when systematically working with children using proverbs and sayings, older preschoolers and first-graders are already able not only to understand expressions of folk wisdom, but also to draw logical conclusions based on them.
It was also found that preschoolers find it much more difficult to guess metaphorical riddles than descriptive ones. Some children do not understand the figurative structure of the language of riddles and do not adequately interpret metaphors. In most cases, children have associations with one word. For example, in the riddle about a cloud on the word “white” - “These are polar bears”, “A swan, because it is white”; in the riddle about the fox - an association with the words “there is no smoke, no fire” - “Fire truck”, “Firemen, because they are putting out the fire, and there is no smoke, no fire.”
It is interesting that in a story, fairy tale, or poem, children perceive metaphor much more easily than in a riddle. This is explained by the fact that the literary text describes a real situation, and the riddle is an allegory. Thus, the assimilation of the figurative structure of language, awareness figurative meaning words and phrases are possible only at a certain level of development of abstract and figurative thinking.
Psychologists, teachers, linguists have studied the peculiarities of children’s understanding of the figurative meaning of words and phrases (A.A. Potebnya, L.S. Vygotsky, A.V. Zaporozhets, V.K. Kharchenko, K.E. Khomenko, N.M. Yuryeva , V.I. Malinina, E.A. Federavichene, O.N. Somkova, etc.) and the difficulties arising in this case are explained by the fact that, unlike adults, in the speech experience of children, the vast majority of words are in a single direct nominative meaning, reflecting its main significant subject-logical content.
E. Kudryavtseva identified some reasons for errors when children guess riddles, although first-graders already have certain knowledge and intellectual skills:
inattentively listen to the text of the riddle;
do not completely remember the content of the riddle;
do not fully or partially understand the text of the riddle;
when guessing and comparing, not all the features present in the riddle are used;
do not have sufficient knowledge about the mystery;
cannot correctly analyze, compare and summarize the features indicated in the riddle.
Even if the correct answer is given, one must distinguish between random and purposeful guessing. E. Kudryavtseva identifies the following signs of purposeful guessing:
children are interested not only in the result, but also in the process of solving the logical problem of guessing;
in search of an answer, all signs of objects and phenomena indicated in the riddle are analyzed, compared and summarized;
the child himself willingly checks the correctness of possible answers, compares their signs and connections with those indicated in the riddle;
the student strives to explain his answer, to prove its correctness with arguments;
in case of an error, the child continues to search for the correct answer;
A first grader has no difficulty comparing riddles.
Thus, with targeted work with children, first-grade students are able to solve riddles with both precisely named features and encrypted ones.
As for other small forms of folklore, N. Novikova in her research emphasizes that some children know and enjoy repeating nursery rhymes, jokes, songs, and tales. But most children do not have speech skills. When recognizing a nursery rhyme or a fairy tale, they only name its characters. The reason is the unsystematic work of teachers on the use of small forms of folklore in the speech development of children.
So, if small forms of folklore are selected taking into account the age capabilities of children and systematic work is organized by the teacher, they are accessible to their understanding and awareness. Thus, the use of small forms of folklore in the speech development of primary school students is fully justified.
.1 Methodology for using literary creativity in the speech development of students
The previous chapter examined theories of speech development, including the use of small forms of folklore. To test the effectiveness of the developed complex, a pedagogical experiment was conducted on the basis of Municipal Educational Institution Lyceum No. 8 in Makhachkala. Before we began to determine the main methods and forms of their use in the development of speech skills in first-graders, we analyzed the situation in the group. We were interested in the level of development of speech skills in children and how proficient they are in small forms of folklore. For this purpose, we chose the methodology (semantic method) of O.S. Ushakova and E. Strunina.
They consider the most important condition for the development of speech structure to be work on the word, which is considered in conjunction with solving other speech problems. Fluency in a word, understanding its meaning, accuracy of word use are necessary conditions mastering the grammatical structure of the language, the sound side of speech, as well as developing the ability to independently construct a coherent statement.
The practice of verbal communication confronts children with words of different meanings: antonyms, synonyms. For first-graders, the orientation towards semantic content is very developed: “For a child, a word acts, first of all, as a bearer of meaning.”
To identify younger schoolchildren’s understanding of the meaning (meaning) of a word, O. Ushakova and E. Strunina offer different tasks, on the basis of which we compiled our diagnostics (Appendix 1).
The following speech skills were diagnosed: accurately use words (tasks 3, 4, 5) in various grammatical forms and meanings; understand different meanings polysemantic word; independently select synonyms and antonyms (tasks 3, 7, 8); level of awareness of semantic relationships between words (task 9); smoothness and fluency of presentation, absence of intermittency and repetition, hesitations, pauses in coherent speech (task 12); the ability to isolate sounds in words (task 6); level of development of speech skills - evidence (task 1); level of orientation to the semantic side of the word (task 2) and expression (task 2, 4, 5).
In addition, the diagnosis shows how well children understand and master the genres of small forms of folklore.
The level of speech skills using small forms of folklore was assessed according to the following criteria:
High level.The child makes up a sentence of three (or more) words. Correctly selects synonyms and antonyms in proverbs; in a speech situation (a nursery rhyme - task 8) selects two or three words of different parts of speech (adjectives and verbs). The child notices inaccuracies in the fable (“They don’t say that,” “Wrong”). Correctly determines the meaning of a word by the function of the object (“Forest - people go there to pick mushrooms and berries”) or by generic concept (“Forest is a place where many trees, mushrooms, berries grow, where there are many animals and birds”). Correctly explains the meaning of a proverb and can come up with a story. He knows how to prove the answer. In addition, he knows a lot of proverbs, sayings, rhymes, etc.
Average level. The child makes up a sentence or phrase of two words. Correctly selects synonyms and antonyms according to their meaning, but not in the required grammatical form. In a speech situation, names one word at a time. Gives his own options, correcting inaccuracies in the fable. Instead of defining the meaning of a word, it gives a description of an object, talks about something specific (“I was in the forest,” “And I know where the forest is”). Can give an explanation of the meaning of the proverb, but not entirely accurately. Composes a story using individual words from a proverb. Guess the riddle correctly, but does not use all the signs in the proof. Names one or two examples for each proposed genre.
Low level. The child does not make a sentence, but repeats the word presented. He cannot find synonyms, but when choosing antonyms, he uses the particle “not” (“A person gets sick from laziness, but he doesn’t get sick from work”). In a speech situation, he selects words that are inaccurate in meaning, or also uses the particle “not.” Doesn't notice the inaccuracy in the fable. The child cannot determine the meaning of words and proverbs. He guesses the riddle incorrectly and does not prove the answer. Composes a story without taking into account the assignment. Practically does not know proverbs, riddles, counting rhymes, etc.
It should be noted that ten children from the control group and ten children from the experimental group took part in the experiment.
The diagnostic results are shown in Table 1, where a high level is 3 points per answer, an average level is 2 points, a low level is 1 point.
The table data indicates an approximate equivalence in the composition of the groups. In the control and experimental groups, the ratio between children in terms of the level of speech development of children was approximately the same. For children of both groups, tasks 2, 4, 5 and 10 turned out to be very difficult and were completed at a low level.
Children know a lot of counting rhymes and offer their own versions, but they are little familiar with other genres. They ask: “What are proverbs?” They confuse each other: “I don’t know proverbs, but I know sayings” and called poddevki (Zaire D.). There are very few children who can explain the meaning of proverbs and prove the answer. Children practically do not know lullabies. When asked “what lullabies do you know,” they sing any songs, calling them “affectionate” or “Tired toys are sleeping...”. All this speaks of insufficiently organized work with small forms of folklore.
Children made mistakes in the formation of various grammatical forms (“I’m running” to my mother); they had difficulty constructing sentences correctly, since at this age these skills begin to form. Some children use words and expressions without accurately understanding their meaning. This suggests that they have a relatively small active vocabulary while having a significant passive vocabulary. Some children, while pronouncing sounds correctly, find it difficult to distinguish them by ear, which can lead to further difficulties in mastering literacy. This is also due to age-related individual characteristics and insufficient work of the teacher to develop the sound culture of speech in children.
In percentage terms, the levels of development of children in the control and experimental groups are presented in Table 2. The table shows that the difference in both groups is insignificant and even in the control group the level of speech development is ten percent higher, which, however, does not play a special role. This is clearly presented in the form of a diagram (Diagram 1), so we can assume that, other things being equal, at the initial stage of the experiment, the level of development of children in the control and experimental groups was approximately the same.
Table 1. Results of diagnosing children’s speech skills (ascertaining section)
GroupsChild's nameTask numberAvg. arithm.Level123456789101112control1. Zaira D.2.513112222131.51.8C2. Magomed K.22,531,51,52223231,52,2С3. Timur K.1,5232222231,521,51,9С4. Madina N.121111.51221211.4N5. Zainab M.111111.512211.511.3N6. Dinara K.11.52111.51.5221211.46N7. Sabina T.21,52112221,5221,51.7S8. Shuana M.1.5221.51.52222221.51.8C9. Nabi A.221,52221,5211,521,51,8С10. Kamal B.1221.51.522221321.8SSr. arithm.1,551,752,11,351,351,851,8221,42,251,4LevelSSSNNSSSSNSNexperimental1. Aishat A.111111,511,5111,511,25N2. Islam K.2,522222,52222322С3. Jamal S.3232223232322,42С4. Yusup G.21,51111,511,521211,46S5. Elmira B.1111,51,51,52211211,46С6. Kamil V.322222,52221212,08С7. Muslim K.11,511,51,51,51,51,51,511,511,3N8. Naida M.212222,5221,51,5221,9С9. Saida Sh.1,5111,51,51,511,5111,511,3N10. Azamat A.1111,51,51,51,51,5111,511,25NSr. arithm.1111.61.61111121LevelSNSSSSSSSNSN
Table 2. Levels of development of children's speech skills (ascertaining cross-section)
LevelGroupControlExperimentalHigh--Average70%60%Low30%40%
In addition, we compiled questionnaires for parents and teachers of the study group. We were interested in whether small forms of folklore are used in working with children at school and at home, for what purpose and what. Twenty parents and two teachers were interviewed. As a result, it turned out that parents practically do not use small forms of Russian folklore with their first-graders, they practically do not know a single lullaby (“We used to sing, but now we are already big”), except for “Bayu bayushki-bayu, don’t lie down on the edge...” and even then not completely. Families know these works of oral folk art less and less; now they remember only a few riddles and sayings, and among the nursery rhymes they call one “The White-sided Magpie...”.
As for the teachers’ answers, they try to use these genres a little more widely. When organizing outdoor and other games, various rhymes are used; in lessons of various cycles - riddles in order to motivate for upcoming activities and maintain interest; for organizing children - fun games. But they also believe that lullabies, nursery rhymes, and jokes are used only in early preschool age, and this is no longer useful when working with first-graders. When talking about the importance of small forms of folklore for the development of speech, only tongue twisters are mentioned.
Thus, we found out that work on the use of small forms of folklore with first-graders is not sufficiently organized. Parents and teachers do not fully use their developmental potential, including for speech development. So, we are once again convinced that a comprehensive methodology for developing students’ speech using small forms of folklore is simply necessary.
Analyzing the methodological aspects of speech development using small forms of folklore, for the formative experiment we conventionally identified two stages of work:
1.Preparatory stage.
2.Main stage (direct training):
in Russian language lessons, reading, extracurricular reading and even some others;
in everyday life.
At the first stage, we consider the methods and techniques of G. Klimenko. She recommends keeping an album and writing down expressions of folk wisdom already known to children. Then make an album - a moving album, in which you write down only new proverbs and sayings. Children learn them from their parents and from books. As a result, almost every child gets the right to take the album home, write down a new proverb with the help of their parents, and draw a picture for it (Appendix 3). In their work, following this system, in the first album they recorded not only proverbs and sayings, but also all the small forms of folklore that the children knew.
The moving album was made according to proverbs and sayings. The children enjoyed drawing pictures for these forms of folklore and explaining what they mean and in what cases they are used. Parents also became interested in this issue, and if they learned some new proverbs and sayings, they asked for the album to take home and wrote them down together with their children.
At the second stage of the formative experiment, first of all, we organized work in the classroom. It is recommended to use proverbs and sayings in classes to familiarize yourself with fiction, offering methods and techniques such as:
analysis of a proverb or saying precedes the reading of works of art, leading elementary school students to understand its idea;
Children can demonstrate a correct understanding of the idea of the work and the meaning of the proverb when discussing its name;
When first-graders have already accumulated a certain stock of proverbs and sayings, they can be asked to choose one that matches the content and idea of a certain fairy tale.
In our experimental work we followed these methods and techniques. For example, before reading the fairy tale by H.K. Andersen's “Flint” we found out how children understand the expression “true friend”. Then they asked to explain the meaning of the words “rainy day.” The children said how they understand the proverb “Bad friends, until a rainy day.” (A proverb about bad friends, because they only make friends until trouble, and then abandon their friend). After summarizing the answers, they asked to listen carefully to the tale and decide whether the soldier had real friends. In the process of discussing the content of the tale, they clarified: “Do you think the residents of the city have become true friends of the soldier?” And they emphasized: “It’s not for nothing that people say: “Friends are bad until a rainy day.” Then they came up with another name for this fairy tale - “The Trusting Soldier”, “Bad Comrades”.
In addition, children were introduced to the stories of B.V. Shergin, each of which reveals the meaning of the proverb. “Proverbs in stories” - this is how their author defined them. In a form accessible to children, he talks about how ancient proverbs live in our language today, how they decorate our speech, and in what cases they are used. The children became acquainted with new proverbs and sayings and learned how to use them to compose stories. This made it possible to move on to work in classes on speech development, where the children themselves tried to compose certain stories using a proverb or, after composing a story, remember and select the proverb that would fit this story. These techniques contribute to a deeper understanding of the meaning of proverbs, and develop in children the ability to correlate the title of a text with the content, select linguistic means in accordance with the genre, etc.
You should also illustrate this or that proverb (saying) with the children. The ability to convey an artistic image in a drawing expands the possibility of expressing it in words. In this case, the children's stories based on the proverb were more expressive and varied.
In addition, work was also carried out to enrich children’s speech with phraseological units, where proverbs and sayings acted as tools. This was done in order to help children understand the figurative meaning of words and phrases. Familiarizing children with the elements of Russian phraseology relates to the content of vocabulary work. “Phraseological units are stable, indecomposable phrases, original expressions that cannot be translated literally into another language. They serve as a means of creating emotional, expressive speech, as a means of evaluating certain phenomena or events.”
First-grader children should be taught to perceive, that is, hear, understand and partly remember and use, individual expressions from colloquial phraseology (proverbs and sayings) that are simple in content and accessible to them. It is difficult for children to learn the general meaning of a phrase, which does not depend on the specific meaning of the words that make it up (“over the moon”, etc.). Therefore, the teacher should include in his speech expressions, the meaning of which will be clear to children in a certain situation or with an appropriate explanation, for example: “here you go,” “a drop in the bucket,” “a jack of all trades,” “you can’t spill water,” “control yourself”, etc.
In their experimental work, they taught children to consider the literal and figurative meaning of statements, selecting situations from the child’s life (simple and accessible) for each proverb, using the clarity of the literal and figurative meaning of phraseological units, fiction, and engaging in practical activities (playing out proverbs). They explained to the children that in our language there are many words that denote objects (table, nose) and actions performed (luggage, chop, hack). But, if you combine such words in one expression (“Hack on the nose”), then they will have a completely different meaning. “Notch on the nose” means to remember. Or this expression - “Hang your head.” How do you understand it? How can you say it differently?
We analyzed several expressions with children such as “Lead by the nose”, “Give free rein to your hands”, “Hang your nose”. Then they made a generalization: in order to correctly understand the proverb, you do not need to determine the meaning of each word. The main thing is to think about what we are talking about here. There is a proverb: “To say it is to tie it in a knot.” We explain to the children its meaning: once you have promised, you need to fulfill it, keep your word firmly. And they have been saying this since ancient times, when many people did not know how to write or read, and in order not to forget about something, they tied a knot on a handkerchief as a keepsake (demonstrating a handkerchief with a knot). Now they don’t do that anymore, but the proverb remains.
Thus, children develop lexical skills. They learn to understand the etymology of words and expressions, and select proverbs and sayings that are close and opposite in meaning. The main thing is for children to understand that phraseological units (proverbs and sayings) are an indivisible unit that gives a certain meaning. If something is removed or swapped, then it is lost and a completely different phrase is obtained.
G. Klimenko recommends planning work with proverbs once a week in the second part of the lesson on the native language, and the forms and methods of work should be very different. For example, competition games in rows: who can say the most proverbs. Didactic game “Continue the proverb”: the teacher says the beginning, and the children continue; then the beginning of the proverb is pronounced by one child, and the other finishes it.
Gradually the tasks should become more difficult. Children are given pictures, and they name a suitable proverb (Appendix 4). Then invite the children to select proverbs according to their meaning: about honesty, courage, mother, etc. Using these methods and techniques in our work, we noticed that gradually the children themselves began to use expressions of folk wisdom in the right situation.
To improve diction in speech development classes A.M. Borodich and other methodologists recommend using a specific exercise - learning tongue twisters. A tongue twister is a difficult to pronounce phrase (or several phrases) with the same sounds occurring frequently. The didactic task when using tongue twisters is unobtrusive and exciting.
In our work, we adhered to the methodology of A.M. Borodich. First of all, we selected the required number of tongue twisters for a long period of time, distributing them according to difficulty. The author recommends memorizing one or two tongue twisters per month - that’s eight to fifteen per month. academic year.
The new tongue twister was pronounced by heart at a slow pace, clearly, highlighting frequently occurring sounds. We read it several times, quietly, rhythmically, with slightly muffled intonations, first setting a learning task for the children: listen and watch carefully how the tongue twister is pronounced, try to remember, learn to say it very clearly. Then the children pronounce it independently in a low voice (if the text is very easy, this moment is omitted).
To repeat the tongue twister, we first call children with good memory and diction. Before their answer, the instruction is repeated: speak slowly, clearly. Then the tongue twister is pronounced by the choir, by everyone, as well as in rows or small groups, again by individual children, by the teacher himself. During repeated lessons with tongue twisters, if the text is easy and the children immediately mastered it, we diversified the tasks: pronounce the memorized tongue twister louder or quieter, without changing the tempo, and when all the children have already learned it correctly, change the tempo.
The total duration of such exercises is three to five minutes. Gradually these activities were diversified with the following techniques. Repeat tongue twisters “according to the requests” of the children, assigning the role of the leader to different children. Repeat the tongue twister in parts in rows: first row: “Because of the forest, because of the mountains...”; second row: “Grandfather Yegor is coming!” If a tongue twister consists of several phrases, it is interesting to repeat it by role - in groups. First group: “Tell me about your purchases.” Second group: “What kind of purchases?” All together: “About shopping, about shopping, about my shopping!” All these techniques activate children and develop their voluntary attention.
While repeating the tongue twister, the children were periodically called to the board so that others could see their articulation and facial expressions. When assessing the answers, they pointed out the degree of clarity of pronunciation, and sometimes paid attention to the quality of the movements of the child’s lips in order to once again attract the children’s attention to this.
All of the exercises listed above have their main and initial purpose to ensure the development of clear diction of the child. These are speech technique exercises. But as children assimilate the content of the texts themselves and master the ability to pronounce them clearly, changing the tempo and strength of their voice, they should be offered tasks of an increasingly creative nature. Convey, for example, your attitude to the content of the reproduced text, express your mood, your desires or intentions. For example, a child is given the task of expressing disappointment (“The crow missed the crow”), surprise (“Large grapes grow on Mount Ararat”), a request, tenderness or affection (“Our Masha is small, she is wearing a scarlet fur coat”).
In our work for this purpose, we used not only tongue twisters, but also proverbs and nursery rhymes.
In parallel, we organized work to develop children's speech skills - evidence and speech - description through riddles. This technique is proposed by Yu.G. Illarionov. Children gradually master the techniques of constructing speech - evidence, the specific vocabulary inherent in it. Typically, first-graders do not use these constructions in their speech (“Firstly..., secondly...", “If..., then...”, “Once..., then...”, etc.) but it is necessary to create conditions for them. understanding and mastery.
In order to arouse in children the need for proof, it is necessary to set a specific goal for the child when solving riddles: not just to guess the riddle, but to prove that the answer is correct. Children should be interested in the process of proof, in reasoning, in the selection of facts and arguments. To do this, the author recommends organizing a competition: “Who can prove it more correctly?”, “Who can prove it more completely and accurately?”, “Who can prove it more interestingly?” It is necessary to teach children to perceive objects and phenomena of the surrounding world in all the completeness and depth of connections and relationships, and to familiarize them in advance with those objects and phenomena about which riddles will be offered. Then the evidence will be more valid and complete.
Following this system, when asking the children riddles, we repeated them several times so that the students would remember them better and identify the signs. They offered the children a plan of proof by posing a question sequentially in accordance with the structure of the riddle. For example: “Who has a mustachioed muzzle and a striped fur coat? Who often washes their face, but without water? Who catches mice and likes to eat fish? Who is this riddle about?
If a student missed any sign or connection in his proof, he was asked questions of a debatable nature, revealing the one-sidedness of his answer. For example, when guessing the riddle: “I, red, long, sweet, grow in the ground in a garden bed,” a child proves based on one sign: “This is a carrot because it grows in the ground in a garden bed.” We show the inconsistency of the proof: “Is it only carrots that grow in the garden? After all, onions, beets, and radishes grow in the ground.” Then the child paid attention to other signs (red, long, sweet), which made the answer more conclusive.
To change the content and methods of proof, Yu.G. Illarionova recommends offering different riddles about the same object or phenomenon. This activates the children’s vocabulary, shows how they understand the figurative meaning of words, figurative expressions, and in what ways they prove and confirm the answer. When teaching children to compare riddles about the same object or phenomenon, we relied on the system of E. Kudryavtseva, who examined this aspect in more detail and proposed the use of didactic games. She also considers it necessary to teach children to consciously identify and remember the various signs of a mystery. If there is no complete and correct analysis of the riddle material, then it will be difficult or impossible to guess and compare them.
To solve riddles with negative comparisons, it is advisable to teach first-graders to use the technique of regrouping features. A child should be able, according to E. Kudryavtseva, to identify a group of signs present in a hidden object or phenomenon. Thus, the riddle “Liquid, not water, white, not snow” (milk), after rearranging the signs, will have the following form: liquid, white; not water, not snow.
In combined riddles with precisely named and encrypted features, when guessing, the author recommends using the technique of clarifying the features, for which the existing precisely named features are highlighted and allegories are revealed. Thus, in the riddle “In the middle of the field lies a mirror, blue glass, green frame”:
precisely named signs: in the middle of a field, blue, green;
deciphered signs: the hidden object has a flat surface in which everything is reflected (mirror); the hidden object is transparent (glass); the dream is surrounded on all sides by green (green frame).
To answer correctly, based on accurately named and deciphered signs, it is easier for children to draw the necessary conclusion that there is a blue lake or pond on the green field.
E. Kudryavtseva identifies several types of children’s activities in didactic games with riddles: asking riddles; guessing riddles; proof of the correctness of the guesses; comparison of riddles about the same thing; comparison of riddles about different things. Following this system, we have successfully used all types in our work (Appendix 5), following the following conditions, which are outlined
before comparison, the riddles were purposefully guessed by the children;
the students observed what was hidden in the compared riddles;
children remember the content of the riddles well and can repeat them before comparison;
children have sufficient knowledge about what is hidden in the compared riddles;
no more than two riddles are compared at the same time;
the teacher clearly explains what exactly needs to be compared in riddles;
First graders know what questions to answer when comparing riddles.
Children's conscious attitude to solving riddles and selecting evidence develops independence and originality of thinking. This happens especially when solving and explaining those riddles, the content of which can be interpreted in different ways. In such cases, Yu.G. Illarionova recommends not asking children to give a traditional answer, but, seeing the correct course of their reasoning, emphasizing the possibility of different answers and encouraging them.
Thus, using the above methods and techniques, we are convinced that the witty and entertaining form of the riddle makes it possible to teach reasoning and proof easily and naturally. The children developed a keen interest, they were able to independently analyze the text of the riddle, which indicates the ability to search and find ways to solve the problem.
To develop children's descriptive speech skills Yu.G. Illarionova suggests analyzing the language of the riddle. After the children solved the riddle, we asked: “Do you like the riddle? What did you especially like and remember about it? What is unclear and difficult about it? What words and expressions seem unclear? Does it look like the subject in the riddle is well-described? What words is it described in? What words convey movements, sounds, smells, colors? They also found out how children understand this or that expression, phrase, what the object is compared to, etc.
The structure of a riddle requires specific linguistic means, so we also paid attention to the construction of the riddle: “What words does the riddle begin with? How does it end? What does it ask?” Such questions develop children’s sensitivity to language, help them notice expressive means in riddles, and develop the child’s speech. It is important that children not only remember the figurative expressions of the riddle, but also create a verbal image of the objects themselves, that is, they try to find their own versions of descriptions. Thus, analyzing a riddle helps not only to better understand and guess it faster, but also teaches children to pay attention to the word, arouses interest in figurative characteristics, helps to remember them, use them in their speech and create an accurate, vivid image themselves.
To fully utilize the developmental potential of small forms of folklore, we used them in special moments in order to create a favorable speech environment, since this is one of the conditions for the speech development of children. First of all, having selected content and language accessible to children, we used proverbs and sayings for this purpose.
E.A. Flerina, A.P. Usova, G. Klimenko, N. Orlova noted that the most important condition for the use of proverbs and sayings is relevance, when there are facts and circumstances illustrating them, the hidden meaning becomes clear to the child. The child must feel that these are exactly the words with which he can best express his thoughts: with a well-aimed word, stop a braggart, a scoffer; give an apt description of a person or his activity. Proverbs reveal to children certain rules of behavior and moral standards; with their help, one can emotionally express encouragement, delicately express reproach, or condemn an incorrect or rude action. Thus, they are our faithful assistants in shaping the moral qualities of children, and, above all, hard work and friendly relations with each other.
From the many Russian proverbs and sayings, we have chosen those that can accompany children’s work activities and, of course, enrich their speech. In the context of work, under appropriate conditions, children learn to understand the meaning of proverbs and clearly formulate their thoughts. Let's give an example of such a situation. Children play, look at books, and two boys, unable to find something to do, sit on the carpet. We say: “Out of boredom, take matters into your own hands” and give some kind of assignment. The children are eager to get down to business. And after the work is finished, we praise and ask why they say so. Thus, we help to comprehend the proverb and the result of our work.
It is very important that proverbs or sayings are pronounced expressively, with different intonations (with surprise, condemnation, regret, joy, satisfaction, reflection, affirmation, etc.), and are also accompanied by gestures and facial expressions. This helps to understand the essence of the proverb and encourages the desired action. Thus, the use of proverbs and sayings in lessons at school and in everyday life activates the child’s speech, contributes to the development of the ability to clearly formulate his thoughts, and helps to better understand the rules of worldly wisdom.
Riddles were also widely used in everyday life. This is indicated by M. Khmelyuk, Yu.G. Illarionova, M.M. Alekseeva, A.M. Borodich and others. The objectivity, specificity of the riddle, and focus on detail make it an excellent method of didactic influence on children. In our work, we offered children riddles at the beginning of lessons, observations, and conversations. In these types of work, the riddle arouses interest and gives rise to a more detailed conversation about the object or phenomenon that interests us. These forms of folklore bring a certain “spice” to lessons; they force you to take a fresh look at certain objects, to see something unusual and interesting in things that have long been familiar.
A.M. Borodich, A.Ya. Matskevich, V.I. Yashina et al. recommend using small forms of folklore in theatrical activities (dramatization games, concerts, holidays), where children strengthen their storytelling skills, activate their vocabulary, and develop expressiveness and clarity of speech.
Children can organize concerts on their own. Under the guidance of a language teacher, they draw up a program, assign roles, conduct rehearsals, and prepare the premises. Its program is varied: reading nursery rhymes known to children using visual material (toys, objects, pictures); retelling of a famous fairy tale; dramatization game or puppet theater; folk games; telling riddles.
It is this kind of preparation that helps solve many problems of mental, moral and aesthetic education. Thus, by organizing entertainment for first-graders, we activate small forms of folklore in children’s speech. This contributes to the development of imagery and expressiveness of their speech.
So, the use of small forms of folklore in the development of speech of first-graders is carried out by a combination of various means and forms of influence on them.
schoolboy folklore speech reading
2.2 Analysis of experimental work on the development of children’s speech using literary creativity
A large section of the oral creativity of the Russian people is the folk calendar. In our work, we tried to adhere to it and even organized the calendar and ritual holiday “Oseniny” (Appendix 6). In addition, we conducted a series of cognitive cycle classes where speech problems were solved in order to enrich the vocabulary and to draw the attention of first-graders to genre and language features:
. “I live in a painted mansion, I will invite all guests to my hut...” (introduction to proverbs, sayings, jokes about Russian life and hospitality);
. “Visiting the hostess” (introduction to riddles);
. “Bay, bye, bye, bye! Go to sleep quickly." (Appendix 7).
In speech development classes, tongue twisters and nursery rhymes were widely used in order to develop phonemic awareness and form the grammatical structure of the language. These classes allow you to use works of folklore of various genres (one of them is leading, and the others are auxiliary), a combination of various types of activities (verbal with musical, visual, theatrical and gaming). Thus, the classes are integrated. As an organizing point in each lesson, the proverb was used: “There is time for work, an hour for fun,” setting the children up for subsequent work.
Small forms of folklore in educational work with children were used in an integrated form both in the classroom and in the process of independent activity (game, leisure). We based our work on the following basic principles:
To verify the effectiveness of the methodology we use, we again conducted a diagnostic of speech skills using the same form, parameters and indicators. The results are presented in Table 3.
A comparative analysis of both groups showed that the children of the experimental group significantly increased their level of speech skills during the experiment and were ahead of the control group in terms of performance. Thus, in the experimental group, at the end of the study, one child received the highest score (there were none), seven children received an average score (there were six), and three children with a low score (there were four). In the control group, small progress can also be observed, but it is not as noticeable. The results obtained are listed in analytical Table 5, which compares the data at the beginning of the experiment and after its completion.
Answering diagnostic questions, the children of the experimental group were able to analyze the meaning of the proverb. So, about the proverb “Work feeds, but laziness spoils” the guys say: “He who works, he works, he is respected”; “Whoever does not want to work often begins to live dishonestly”; “They pay him money for his work”; "Laziness spoils a person." Analyzing the meaning of the proverb “May is a cold year, a grain-growing year,” the children answer: “There will be a big harvest.”
They also named a lot of other small forms of folklore, and were able to compose short stories based on proverbs. For example, in response to the proverb “What goes around comes around,” Vanya K. composed the following story: “We found someone else’s puppy and took it for ourselves, but the puppy’s owner is looking for him and crying. But we have a puppy, and someone might take him, and then we’ll cry.” We see that the child has composed a story from complex sentences, constructing them in a grammatically correct form.
Analysis of the results of the experimental group before and after the formative experiment clearly demonstrates the effectiveness of the complex of methods and techniques we developed (Diagram 2). The experimental group improved their results. The percentage of children with a low level of development decreased by ten percent. Accordingly, the number of children with an average and high level of development increased by twenty percent.
Table 3. Results of diagnosing children’s speech skills (control section)
GroupsChild's nameTask numberLevel123456789101112control1. Zaira D.2.51.53112222131.5C2. Magomed K.22,531,51,52223231,5С3. Timur K.1,5232222231,521,5С4. Madina N.1211,521,51,522121С5. Zainab M.111.5121.51.52211.51N6. Dinara K.11.52111.51.522121N7. Sabina T.21,52212221,5221,5С8. Shuana M.1.5221.51.52222221.5C9. Nabi A.221,52221,521,51,521,5С10. Kamal B.1221,51,52222132SSr. arithm.1,551,82,11,51,551,851,822,11,42,251,4LevelSSSSNSSSSSNSNNexperimental1. Aishat A.111,5111,51,51,51,511,51,5H2. Islam K.2,522222,5222,5232С3. Jamal S.3232,522,53232,532B4. Yusup G.21,511,511,51,51,52121,5С5. Elmira B.111,51,521,5221,5121,5С6. Kamil V.322222.52.5221.521.5С7. Muslim K.11,511,51,51,51,51,51,511,51,5N8. Naida M.21,52222,5221,51,522С9. Saida Sh.211,521,521,51,51,51,51,51С10. Azamat A.11,51,51,521,51,521,51,51,51,5SSr. arithm.1,851,451,71,751,71,951,91,81,851,4521,6LevelSNSSSSSSNSSS
Table 4. Levels of development of children’s speech skills (control section)
LevelGroupControlExperimentalHigh-10%Average80%70%Low20%20%
Table 5. Levels of development of children’s speech skills at primary and final stages experiment
LevelGroupControlExperimentalStating ExperimentControl ExperimentStating ExperimentControl ExperimentHigh---10%Average70%80%60%70%Low30%20%40%20%
teachers will be interested leaders in the speech development process;
Special training in native speech will be organized using small forms of folklore, not only in special lessons on speech development;
Conclusion
In connection with this goal, the first chapter of our study examines the state of the problem under study in psychological and pedagogical science, analyzes the features of speech development of primary school students and the influence of literary texts on the formation of literary creativity. The second chapter examines well-known work methods for using different genres, techniques and forms of work that were proposed by Yu.G. Illarionova, E.I. Tikheyeva, A.M. Borodich, O.S. Ushakova, A.P. Usova, V.V. Shevchenko and others.
Analysis of theoretical provisions and methodological conclusions made it possible to present the results of experimental work carried out at the school of Municipal Educational Institution Lyceum No. 8 in Makhachkala on the use of small forms of folklore in the process of developing children's speech. We tracked the dynamics of changes in the level of speech development in the process of experimental work. All other things being equal, at the initial stage of the experiment, the level of development of children in the control and experimental groups was approximately the same. Analysis of the results of the experimental group before and after the formative experiment indicates the effectiveness of the complex of methods and techniques we developed. The experimental group improved their results. The percentage of children with a low level of development decreased by ten percent. Accordingly, the number of children with an average and high level of development increased by twenty percent.
During the work, the following changes were noticed:
Children have increased interest in oral folk art, they use proverbs and sayings in their speech, nursery rhymes in role-playing games, and independently organize folk fun games using rhymes.
Parents have also noticed an increased interest in the use of small forms of folklore in the speech development of children at home. They enjoy learning with children and selecting proverbs and sayings, explaining their meaning to children.
Of course, our study does not claim to be sufficiently complete, since the issue still remains relevant. However, in terms of developing methods for working with small forms of folklore, well-known methodological aspects have been revised and adapted for first-graders in the specific conditions of school No. 8.
Small forms of folklore in educational work with children were used in an integrated form both in lessons and in the process of independent activity (game, leisure). We based our work on the following basic principles:
firstly, on a careful selection of material, determined by the age capabilities of children;
secondly, integration of work with various areas of educational work and types of children’s activities (speech development, familiarization with nature, various games);
thirdly, the active inclusion of children;
fourthly, to maximize the use of the developmental potential of small forms of folklore in creating a speech environment.
Based on the analysis of experimental work, we can come to the conclusion that our hypothesis that the level of speech development of first-graders increases if:
teachers will be interested leaders in the speech development process;
special teaching of native speech will be organized using small forms of folklore not only in special lessons on speech development, but also in other lessons;
small forms of folklore will be selected appropriate to the age of children for learning and speech development, it was confirmed.
If systematic work with first-graders is organized, small forms of folklore are accessible to their understanding and awareness. The use of small forms of folklore in the development of children's speech is carried out by a combination of various means and forms of influence on them. Thus, the use of small forms of folklore in the speech development of children is fully justified.
This problem attracts the attention of teachers and scientists, such as: L.S. Vygotsky, D.M. Komsky, M.R. Lvov, L.V. Zankov, T.V. Zelenkova, Z.N. Novlyanskaya. They attach great importance to development creative personality.
In order to promote children’s development, it is necessary to abandon the well-known stereotypes of work in reading lessons and direct it so that students perceive and appreciate the literary word, as it is irreplaceable to think about the deep content of it. So that reading each new work or re-reading a previously known one would be a new discovery for them, would evoke the work of the soul - feelings, imagination, would affect their life experience, that is, would capture their personality.
In our time, society's demands on the personal qualities of every citizen of our country, as well as an individual and a member of society, have increased significantly. Our education has reached a new level. Education has become developmental. Teachers strive to structure a lesson so that it meets all the criteria of developmental education. Developmental education is unthinkable without creativity. However, many schools, judging by the psychological and pedagogical literature, are little focused on the development of schoolchildren’s imaginative thinking and their imagination.
Analyzing the requirements for a modern lesson, in particular for a reading lesson, we can conclude that the development of literary creativity is a necessary prerequisite for the development of students’ creative activity and imagination. A reading lesson should involve mutual creativity between children and the teacher, creative types of work with text, and the development of emotionality for the best perception of the text.
Having studied the methodological and psychological literature on the problem of “Literary creativity of junior schoolchildren,” we came to the conclusion that the work on developing literary creativity and creative activity of schoolchildren is still poorly done at school. There are only a few points aimed at developing children's literary creativity and creative abilities. Most of the issues covered in this problem are found in the works of psychologists such as L.S. Vygotsky, M.V. Matyukhina and others.
During the study, we identified some types of work that contribute to the development of the creative potential of younger schoolchildren. These are: verbal drawing, work with illustration, musical illustration, literary creativity, dramatization, various creative tasks, etc.
We conducted an experimental study on the development of literary creativity and identified a system of tasks aimed at developing and improving a person’s ability to deeply perceive and understand a work, get used to the image of the main character, and appreciate the beauty in people and the world around us.
The purpose of our research was to identify and put into practice methods and techniques aimed at developing literary creativity and developing the speech of primary schoolchildren in reading lessons. Based on this, we diagnosed the level of development of students' creativity.
Our data showed that children's ability to create is developed at an average level. During the experimental work, we tried to apply all the interesting tasks we found, and tried to demonstrate new techniques and methods.
The hypothesis we put forward is: “if you use the whole variety of available methods and techniques aimed at developing students’ literary creativity in reading lessons and do this in a system, then you can achieve a deeper perception of the work by children. To promote children both in aesthetic and general development. Introduce children to the art of words” - proven by our research.
Bibliography
1.Alekseeva M.M., Yashina V.I. Methods of speech development and teaching the native language to preschoolers. - M., 2000.
2.Alekseeva M.M., Yashina V.I. Speech development of preschool children. - M., 1999.
.Anikin V.P. Russian folk proverbs, sayings, riddles, children's folklore. - M., 1957.
.Borodich A.M. Methods for developing children's speech. - M., 1981.
.Wenger L.A., Mukhina V.S. Psychology. - M., 1988.
.Verzhbitskaya M.A. Educational orientation of teaching in reading lessons. Primary school No. 1, 2007 - 19 p.
7.Veselovsky A.N. Historical poetics. - L., 1940.
.Vygotsky L.S. Imagination and creativity in childhood. - M., 1991.
9.Vygotsky L.S. Development of higher psychological functions - M., 1980.
.Goretsky V.G. Literary reading lessons based on textbooks “Native Speech”: Book 1,2,3, Teacher’s Book. - M., 1995.
11.Davydova O.I., Fedorenko V.I. Lullabies as a specific protective mechanism of an ethnic group // Psychological and pedagogical problems of modern education // Collection scientific articles. - Barnaul, 2001.
12.Dal V.I. Proverbs and sayings. Naputnoye // Russian folk poetic creativity. Reader on folklore / Compiled by: Yu.G. Kruglov. - M., 1986.
.Child psychology / Ed. Ya.L. Kolominsky, E.A. Panko. - Mn., 1988.
.Illarionova Yu.G. Teach children to solve riddles. - M., 1976.
.Karpinskaya N.S. Artistic language in raising children (early and preschool age). - M., 1972.
.Klimenko G. Using proverbs and sayings in working with children // Preschool education. - 1983. - No. 5. - pp. 34-35.
.Kudryavtseva E. The use of riddles in didactic games (senior preschool age) // Preschool education. - 1986. - No. 9. - pp. 23-26.
.Melnikov M.N. Russian children's folklore. - M., 1987.
.Mukhina V.S. Child psychology. - M., 1999.
.Folk pedagogy and education /Author: Shirokova E.F., Filippova Zh.T., Leiko M.M., Shuvalova M.N. - Barnaul, 1996.
.Folk art in raising children / Ed. T.S. Komarova. - M., 2000.
.Orlova N. Using proverbs and sayings in working with children // Doshko
.Development Program (Basic Provisions). Scientific director L.A. Wenger. - M., 1994.
24.Propp V.Ya. Folklore and reality: Selected articles. - M., 1976.
.Journey through the Land of Mysteries / Comp.: Shaidurova N.V. - Barnaul, 2000.
26.Romanenko L. Oral folk art in the development of children’s speech activity // Preschool education. - 1990. - No. 7. - pp. 15-18.
27.Russian mythology. - M., St. Petersburg, 2007.
.Russian folk poetic creativity / Ed. A.M. Novikova. - M., 1986.
Tutoring
Need help studying a topic?
Our specialists will advise or provide tutoring services on topics that interest you.
Submit your application indicating the topic right now to find out about the possibility of obtaining a consultation.
“A child who is not accustomed to delving into the meaning of a word, who dimly understands or does not understand its real meaning at all, and who has not acquired the skill of using it freely in oral and written speech, will always suffer from this deficiency when studying another subject.” K.D. Ushinsky
A modern school should prepare a person who thinks and feels, who not only has knowledge, but also knows how to use this knowledge in life, who knows how to communicate and has an internal culture. The goal is not for the student to know as much as possible, but for him to be able to act and solve problems in any situation. The priority means for this are the culture of speech and the culture of communication.
Clarification, enrichment and activation of students' vocabulary. Clarification, enrichment and activation of students' vocabulary. Working on a dictionary is the basis, the foundation of all work on speech development. Without a sufficient vocabulary, the student will not be able to construct sentences or express his thoughts.
Working with vocabulary words To get acquainted, I give a block of three words (not necessarily thematic). Birch, station, passenger 1. Familiarization with the block, spelling pronunciation (3 times), recording words in individual dictionaries with highlighting spellings and placing emphasis, finding out the meaning of these words, then comparing them using an explanatory dictionary.
2. Formation of the concept Birch is a tree…. - So what, a Christmas tree is also a tree - It’s a deciduous tree. -Well, aspen is also a deciduous tree. The work continues until the children give the exact concept. Birch is a deciduous tree with white bark and heart-shaped leaves.
The System Analysis method helps to consider the world in a system as a set of elements interconnected in a certain way, conveniently functioning with each other. I propose a system, select the words included in this system: Dog - hunter, gun, forest, wolf, Weather - rain, umbrella, raincoat.....
Resolving contradictions is an important stage in a child’s mental activity. Scientists have developed a new breed of dog. Outwardly, she is, in general, the same as ordinary dogs, but the new dog does not bark, does not bite, and allows everyone into the house. What problem will the new dog and its owner have?
A step-by-step method for teaching storytelling from a picture. Step 1. Delhi! (Determination of composition). We point the camera's eye at the picture so that only one object is visible in it. We name the objects and schematically draw them in circles on the board. Step 2. Come on! (Finding connections). Let's connect two circles on the board and explain why we did this. Let's tell you how the objects in these circles are connected to each other. Step 3. Strengthening imagery with characteristics. The technique of entering into the picture is used. We actively explore the picture using each sense organ in turn. At the same time, we can move sequentially along the circles and lines of the schematic drawing. Let's talk about the feelings we received. Step 4. A collection of figurative characteristics. Let's find out the meaning of new words in explanatory dictionary. We use them to make comparisons and riddles. Step 5. Get behind - Get ahead! (Building a time sequence). We choose one of the heroes and imagine step by step what he did before - before appearing in the picture, and what he will do later. Step 6. Move to different points of view. We determine the state of one of the heroes. We enter his state and describe the environment or events from the point of view of this hero. Then we find another hero in a different state or take the same hero at a different time and in a different state. We describe everything from a new point of view. We include descriptions from different points of view in the story
Enriching students' vocabulary is of great importance for the development of their speech. Therefore, every time I am convinced of the need to constantly work with dictionaries, trying to awaken interest in a single word. It is necessary to study the origin of the word (it largely explains the spelling), structure (composition), pronunciation, spelling, and its meaning. It is necessary to show how this word lives and develops in the structure of phrases, sentences, and small texts; associate a word with a specific speech situation. Of course, the game will come to the rescue
Herons _________ drops _______ heaven ___________ forest Herons walked through the forest, Drops fell on them. From the heavy leaden skies And the herons hid in the forest (Igor Yakushev) Herons live in the swamp, Here the drops began to fall. Drops fell from heaven onto the wonderful green forest (Vaga Alena)
Waiting for __________ cat _________ without a tail ___________ from the cat An old, red, cunning cat is waiting for prey at the hole. The mouse was left without a tail, running away from the cat. (Markova Ksenia) A black cat sits on guard and waits for a delicious lunch. He sits without a tail, and the mice hid from the cat. (Vaga Nastya)
One day a green leaf came off from a large maple tree. One day a green leaf came off from a large maple tree. He flew with the wind, the whole world looked from above. (Ilya Korchinov) Once a green leaf came off from a large maple tree. He flew around the world for a long time, only returning to us in the summer. (Igor Yakushev)
For homework I ask you to come up with a poem on a specific topic. After a series of poems about autumn: come up with a poem about autumn Autumn has come into its own - The leaves have turned yellow, the grass has faded. Soon the first snow will fall - And winter will come to us for a long time. (Markova Ksenia)
Christmas tree, holiday, kids are having fun! Dancing, dancing and fun - No bad mood! (Ksenia Markova) The New Year is coming, the lights are sparkling. Everyone has been waiting for the New Year for a long time, the Christmas trees are being decorated. (Alina Suchkova) Cold winter has come, Snowflakes are circling and flying, Snowdrifts are growing quickly, Cheerful laughter sounds from the guys. (Ilya Korchinov)
We dressed up the Christmas tree in a festive dress, with bright lights and colorful balls. And she calls the kids to meet New Year's celebration, And give them delicious gifts. (Vaga Alena) The New Year is in a hurry to visit us, opening the doors, decorating the green Christmas tree beautifully. (Igor Yakushev)
The tasks can be as follows: 1. Read one (optional) sentence - a proverb. Orally convey its main meaning. Formulate a topic. 2. Starting from this sentence, “expand” your thought in written form (from 5 to 10 sentences). Remember that the support sentence is the title of your future text: this title expresses the main idea. Your text can take the form of a short story, an instructive tale, a short poem or a reasoning text. So, gradually you will learn to turn one sentence into your own author’s text.
Game "Translate into Russian." It is known that in the languages of many nations there are many proverbs and sayings that are similar in meaning, because wisdom knows no bounds. Children love to “translate” such proverbs. 1.Before speaking, turn your tongue seven times (Vietnam). 2.You can’t hide a camel under a bridge (Afghanistan). 3.The small pot heats up well (England). 4. The son of a leopard is also a leopard (Africa). 5.Where the shovel leads, water flows (Tibet). 6.After lunch you have to pay (England). 7. A scalded rooster runs away from the rain (France).
Sample answers: 1) Measure seven times, cut once. 2) You can’t hide an awl in a bag. 3) The spool is small, but expensive. 4) The apple doesn’t fall far from the tree. 5) Where the needle goes, so does the thread. 6) If you love to ride, you also love to carry sleds. 7) The frightened bird is afraid of everything.
Writing riddles The game exercises for selecting rhymes, discussed above, will help children write riddles. During a joint discussion with children, it is necessary to identify important signs of a riddle: - the object is not named, but it is compared, described, contrasted or called differently; - the main characteristics of an object that distinguish it from all others are named; - in some riddles you can use rhyme
The prickly beauty blooms in our garden, all people really like it and brings joy to the house. (Markova Ksenia) A pot-bellied barrel is sitting on a hummock. (Korchinov Ilya) What kind of fairy is this? Spinning, fluttering, pollinating flowers? (Komelkova Lena) It’s not a plane, but it flies, It’s not a flower, but it decorates the earth. (Markatyuk Nastya)
The program for primary grades provides a large list of speech skills with a consistent increase in their complexity from class to class. Among them are the following: - the ability to embody in words the products of students’ imagination and creativity; - the ability to use figurative language in speech: comparisons, epithets, metaphors, personifications; - the ability to verbally describe an object. It is these skills that need to be developed purposefully and systematically.
When working on lyrical works, I use four groups of exercises. The first group of exercises is aimed at developing in children the ability to respond emotionally to what they read. To enhance emotional perception, the following tasks are necessary: What feelings arose in your soul when reading the poem: amazement, joy, admiration, regret, delight? Pay attention to the words that the author chooses to convey joy at the sight of extraordinary beauty. Find words in the poem that convey the author’s mood. Come up with (choose) a melody for this poem.
The second group of exercises is aimed at awakening the imagination and fantasy of schoolchildren (verbal drawing). Assignments: Imagine that you need to draw a picture for this text. What colors do you use for the sky, clouds, greenery, earth, etc. Listen to the sound of the poem and try to sing a melody that matches it in sound; What sounds are repeated in this line and what do they “draw”? Choose a word illustration for the entire poem or for a passage of your choice. Which lines of the poem go well with your illustration?
The third group of exercises is aimed at detailing and concretizing ideas about epithets, comparison, personification, and metaphor. Tasks: Select your epithets for the specified word and compare with the author’s. Will the poetic image change if you replace the epithet, simile, metaphor. Find figurative language in the text of the poem: epithet, comparison, personification, metaphor. Find the epithet and the word that defines it.
The fourth group of exercises is for expressing a personal attitude: What moods of the author did you feel? Share your impressions of what you heard with your friends. Express your feelings. Tell us about your attitude to the imaginary picture.
A speech minute is held at the beginning of each Russian language lesson. Children at home find a beautiful sentence in the works of writers and poets, write it down in a notebook and, when answering in class, analyze it, explaining why this sentence attracted them, what figurative means the author used, etc. It is especially highly appreciated if the child came up with the proposal himself. 5 minutes of poetry during reading lessons allow children to plunge into the poetic world, create a specific mood, and make a brief analysis of the poem.
Retellings are the most important techniques that are used to develop the speech of primary school students 1. Detailed, which, in turn, is divided into free, i.e. based on the first impression and conveying it as a whole (in your own words), and artistic - close to the author’s text, aiming not only to convey the content in detail, but also to reflect the artistic features of the text. 2. A brief retelling (compressed) sets out the main content of what was read, preserving the logic and style of the source text, but omitting details, some details of the literary text. Working on a brief retelling teaches the student to select the main and essential, distinguishing them from the secondary. 3. Selective retelling is based on the selection and transmission of the content of individual text fragments united by one topic. This creates your own complete story. 4. A retelling with a change in the narrator’s face offers a presentation of the content from the perspective of one or another character, from a third person. This requires a deep understanding of the character of the hero, artistic means of depicting him, and a lot of preliminary work.
Messages (report) Messages are a type of oral monologue by students in literary reading and Russian language lessons. Work on developing the skills to prepare such speeches helps to strengthen the practical orientation of teaching children's literature, equipping schoolchildren with intellectual and speech skills, developing creative abilities, and preparing for active participation in communicative activities. Messages help develop oral and written language in conjunction. During literary reading lessons, I give the task to make a report about the author of the work.
During general lessons on a topic in Russian language lessons, children must make reports: Noun Composition of the word Adjective, etc. where they combine and systematize all the knowledge gained on the topic, having previously drawn up a plan for the presentation. Tasks can be presented in the fairy tale genre “Once upon a time there was a noun”, “Once upon a time the vowels and consonants quarreled among themselves”, “Once upon a time a soft sign decided that it was underestimated...”, etc.
Essays Essay is a creative work. It requires the student’s independence, activity, passion, and bringing something of his own, personal into the text. It contributes to the development of the student’s personality. In an essay, spelling and all the grammatical rules being studied acquire meaning for the student.
When preparing children for an oral story or a written composition, I teach them: to understand a given topic or find their own, to determine its content and volume, its boundaries, to adhere to the topic at all stages of preparation and design of their story or composition. Approach the material, the topic as a whole, evaluatively, express your attitude to what is depicted, convey your own position in the text of the essay or story. Accumulate material: observe, highlight the main thing from your experience - what relates to the chosen topic; comprehend facts, describe, convey your knowledge, feelings, intentions. Arrange the material in the required sequence, draw up a plan and adhere to it in constructing a coherent text, and, if necessary, change the sequence. Select the necessary words and other means of language, build syntactic structures and coherent text. Write the text correctly in spelling and calligraphy, place punctuation marks, divide the text into paragraphs, observe the red line, margins and other requirements. Detect shortcomings and errors in your own essay, as well as in the speech of other students, correct your own and others’ mistakes, and improve what you have written.
A school essay is the result of productive activity and is, on the one hand, a subject of study, and on the other, a means of achieving the ultimate goal - the formation of communicative and speech skills of students. Essays differ in sources of material, degree of independence, methods of preparation, genre and language.
1) Creative: - What is kindness? - My three wishes. - So that I can tell African children about winter. - Journey of an autumn leaf. 2) Reproductive: - My faithful friend. - How animals spend the winter. - My toys. - Our friendly family. 3) Phantograms. What would happen if I saw that the book was crying? - did the fountain pen tell you? - the road rose into the sky? 4) Essay-reasoning: - They say that on New Year’s Eve... - Why did they call me that? - Why do you need a friend? 5) Description essay: - My favorite teacher - The beginning of winter. - Christmas tree.
Speech is a human activity, the use of language to convey one’s thoughts, knowledge, intentions, and feelings. Speech can be external and internal; external speech is divided into oral (sounding) and written (graphically recorded); dialogical and monologue speech are also distinguished. The tasks for the development of students’ speech include: enriching, consolidating and activating the vocabulary, improving the sound culture of speech, improving the grammatical aspect of speech, and developing the qualitative characteristics of speech. Students' speech should be characterized meaningfulness – you can only speak or write about what you yourself know well; logic - consistency, clarity of speech construction; accuracy – the ability of the speaker and writer not only to convey facts, observations, feelings in accordance with reality, but also to choose the best linguistic means for this purpose. The student’s speech should be characterized expressiveness – the ability to clearly, convincingly, concisely convey a thought, the ability to influence people with intonation, selection of facts, construction of a phrase, choice of words, mood of the story; clarity – accessibility for the people to whom it is addressed. Very important pronunciation aspect of speech: good diction, clear pronunciation of the sounds of the native language, adherence to the rules of orthoepy.
The following levels of work on speech development in primary grades are distinguished: pronunciation, lexical, grammatical and text level. Pronunciation work is planned in three areas: speech technique, orthoepy, intonation. An important task in working on speech technique is: a) the formation of correct speech breathing; b) improving articulation and diction. In this regard, in the structure of literacy lessons, as well as, if possible, Russian language and literary reading lessons, planning and conducting speech warm-up is assumed as a mandatory stage of the lesson. The acquisition of orthoepic norms of the Russian literary language must be ensured daily in connection with the educational material studied in class. Children should be taught to spell correctly read what is printed and correctly write down what is dictated spellingly. Intonation work is necessarily included in the structure of lessons and is based on the educational material of educational books (textual and illustrative). Intonation is the sound means of language. It consists of the following components: melody (raising and lowering pitch); voice power; tempo, pause, timbre as a means of expressing emotions.
The lexical level of speech development is vocabulary work, which consists of four areas: vocabulary enrichment , i.e. learning new words that schoolchildren did not know before; dictionary clarification , i.e. deepening the understanding of already known words, clarifying their shades, differences between synonyms, selecting antonyms, analyzing polysemy, allegorical meanings; activation of the dictionary , i.e. including as wide a range of words as possible in each student’s speech; elimination of non-literary words , sometimes used by younger schoolchildren, correcting erroneous accents and pronunciations.
Sources of vocabulary enrichment: speech environment in the family, among friends, books, media; educational work at school (textbooks, teacher’s speech), dictionaries, reference books. A personality's vocabulary accumulates throughout life; the highest intensity is in the earliest years. It is estimated that the vocabulary of primary school students is enriched daily with 4-6 words, in middle classes - 6-8 words, in high schools - 7-12 words.
Ways to explain new words (semantization of vocabulary):
Use of visualization: substantive, pictorial, graphic. Sometimes you can use facial expressions, gestures, and movements.
Using systemic connections: selection of synonyms, antonyms, word-formation analysis, context.
Using a logical definition: subsuming the word under the closest genus and highlighting specific characteristics
Season
Autumn
Cold weather, birds flying away, harvesting
Detailed description: used in the analysis of literary texts.
In the process of working on a dictionary, students need to be introduced to the stylistic richness of their native language. Trails - this is a poetic turn of phrase, words or expressions used in a figurative sense. The trails include comparison, epithet, metaphor.
The lexical richness of a language is largely ensured by its synonymy. Work on synonyms in primary grades consists of the following elements: a) detection of words in readable texts that are similar in meaning, explanation of the meanings and nuances of these words; b) selection of words close in meaning to the given one, explanation of the differences in the meanings of these words; c) exercises on the use of synonyms in speech. Work on antonyms is structured as follows: a) antonyms are grouped into pairs; b) select antonyms for these words; c) replace antonyms in a sentence; d) complete the begun sentence with words with the opposite meaning (antonyms); e) select antonyms for words that have different meanings, f) select synonymous groups of antonyms, etc.
In the elementary grades, work is planned on the polysemy of words, homonyms and phraseological units.
At the grammatical level, work on speech development uses exercises in the construction of syntactic structures: phrases and sentences. Collocation is a lexical-grammatical unity that does not express a complete thought. It contains the main and dependent words. In elementary grades, a common technique for working on word combinations is asking a question to a subordinate word from the subordinating word. Types of speech exercises with phrases: establishing connections within a phrase, recording these connections in writing; a schematic representation of the connections between words in a phrase and in a sentence, i.e. modeling; composing phrases of different types and topics; identifying stable combinations and interpreting their meanings; correction of speech errors in word combinations, correction of dialectisms (I was at my sister’s, I caught a mouse). A sentence is a minimal unit of speech, has a clear grammatical organization, and expresses a complete thought. Types of exercises with sentences: “modeled”, constructive and communicative-creative.
Almost no lesson goes by without retelling, so the primary school teacher should be wary of patterns in this work. Various types of retellings, as well as varying preparation for it, enliven lessons and increase the interest of students.
Before moving on to the methodological foundations of teaching retelling, we will reveal the very concept of “retelling”.
V. Dahl's explanatory dictionary gives the concept of retelling in the context of retelling:
"Retell
o Retell something, say again, again, tell again. |For children, retell one fairy tale at least a hundred times, they all listen|.
o Convey other people's speeches, speak not your own. |I’m just telling you what I heard: what I bought for is what I sell for|.
o To swindle, to gossip, to carry over, to stir things up, to speak secretly. |He will tell you everything, don’t talk in front of him|.
o Tell a lot, one after another. |I retold all the fairy tales, I don’t know any more|.
o Retelling, pl. retellings, very speeches, gossip, slander, figurative news, rumors, paraphrased words.
We find another definition in the explanatory dictionary of S.I. Ozhegov:
“Retelling is a statement of the content of something. Free retelling
Retell
Tell, express something in your own words. Retell the content of the novel
Tell consistently, in detail about something. Retell all the news"
In the methodology of the Russian language we find the following definition:
“Exposition (retelling) is a type of work that is based on reproducing the content of a statement, creating a text based on the given (original).” Despite the fact that retelling and presentation are often used as synonyms, the name retelling still more often refers to the oral form of text reproduction, i.e. oral presentation - retelling.
Ladyzhenskaya T.A. gives the following definition: “Retelling is the reproduction of the content of the source text”
In our opinion, the most accurate definition is given by M.R. Lvov:
“Retelling is a type of student work, a means of developing speech based on a model.”
In the methodology of the Russian language and literature, there is a problem of classifying retellings (oral presentations). The following grounds can be distinguished for distinguishing types of retellings: in relation to volume, to content, to perception of the source text, to the degree of familiarity with the source text, to the complexity of the language task, to subject matter, to genre-compositional features details of the source text.
Below we present the most significant reasons, in our opinion:
In relation to the volume of the original text, retellings are:
In relation to the content of the source text:
According to the perception of the source text:
According to the degree of familiarity with the source text:
According to the difficulty of the language task:
Let us characterize some types of retellings that are most often used in elementary school practice.
1. Detailed and close to the text sample retelling
This is the simplest type of retelling used in school. But it is used more often than others, not only for this reason, but also due to its advantages. Firstly, it serves as a means of consolidating in children's memory the content of what they read in all its details and connections. Secondly, this is a means of mastering the logic of a model, mastering linguistic means.
A detailed retelling can be considered independent and mature when it is based on a complete perception of the work, on knowledge of its composition, on internal logical connections, on a drawn up plan of the text, and not on a series of questions about the content. If a detailed retelling is built from private answers to questions that are not united in the student’s mind by a single semantic task, then the student does not fully convey the theme, idea and content of what he read.
A detailed retelling of questions can only be used for educational purposes, at certain preparatory stages, when some new problems that are difficult for students are being solved. But in itself it does not correspond to the natural conditions of speech utterance.
“The typical shortcomings of such a retelling are known: this is, firstly, the inability to start; secondly, distortion or incompleteness of the transmission of the final parts of the text, despite the fact that the first, initial parts were conveyed well; thirdly, the impoverishment of the language. Other errors: violations of consistency, misunderstanding of connections, plot, etc. are less common.
The second disadvantage of the retelling is prevented by a thorough analysis of the entire text (it happens that the final parts do not have time to be parsed in class or are parsed hastily, which leads to the disadvantages of the retelling), especially its main parts in terms of content, which are rarely located at the beginning. The uniformity of the retelling is also facilitated by dividing the text into parts, drawing up a plan and retelling in parts. In this sense, a selective retelling plays an auxiliary role.”
2. Selective retelling
To retell selectively means to select from the text that part that corresponds to a narrow question, a narrow topic (for example, retell only a description of a character’s appearance; retell only a scene of a meeting between two characters; retell only a picture of nature, etc.). He teaches schoolchildren to extract the necessary fragments from the text and convey them accurately and in detail. Selective retelling is associated with detailed, sometimes being an element of the latter.
Types of selective retelling:
1. Retelling a separate episode, a separate scene or picture based on a question or assignment from the teacher. One of the simplest types of retelling. Most often used on initial stages teaching retelling.
2. Retelling an episode, scene, excerpt based on a picture, based on an illustration. With this type of work, you need to retell the scene or picture to which the illustration corresponds. No matter how important such work is, only a small excerpt can be retold about it. Therefore, even first-graders can cope with these two types of selective retelling very easily.
3. Retelling passages taken from different parts of the text on a given topic is already difficult. Therefore, the student has to carefully read the entire story again, and sometimes choose passages for retelling, following the thematic line on their own. Therefore, stories are selected in which plot lines are relatively easy to distinguish. Although in grade III, you can already set a selective retelling of the type of preparation for characterizing the hero.
Selective retelling does not always teach only selection, but sometimes also generalization of what has been read. For example, when preparing a characterization of a literary character, you have to systematize the material.
3. Condensed (short) retelling
“A brief retelling is a type of retelling that involves conveying only the basic, summary content of the presented text, devoid of details.”
A junior schoolchild should be able to retell not only in detail, but also briefly and concisely. It is more difficult to retell briefly than to convey the content in full. For a brief retelling, the student must select the main content from the text and eliminate the secondary content. The student himself has to determine where the main thing is in what he read, and what is not very important. He must convey the main content coherently, sequentially, without omissions. To do this, he must be well versed in the content of the work. If a student follows the path of mechanical, simple discarding of some words, sentences and paragraphs, then logical breaks are inevitable. He must say the main thing in his own way, i.e. convey the main content of the learned text in your own statement. In other words, in a condensed retelling, the speech task is as important as the logical one. A concise retelling is certainly a necessary step in the development of coherent speech. But you shouldn’t get too carried away with it. This can lead to dry tongue and discourage children from using artistic details. It is necessary to draw a clear line between detailed and condensed retellings and not allow students to give a condensed retelling when preparing for a detailed retelling. A condensed retelling can be called a typical reasoning, therefore it contains an excellent opportunity to gradually teach a student to draw conclusions and substantiate his judgments.
A concise retelling develops the following skills:
isolate the main thing
when compressing text, focus on the communication situation
shorten the text.
4. Retellings with changes in face shape
As mentioned above, one should distinguish between:
retelling with a change in the narrator's face (most often in the original the story is told from the third person, but is told from the first)
retelling from the perspective of one of the characters (similar to a selective retelling, but, of course, with significant creative changes)
Retelling with a change in the narrator's face requires only grammatical changes. But sometimes significant changes in content occur.
At the retelling of the face, the younger scholar will manage to the rol of Goha’s story, he is “transferred”, tries to put the exam, character, the eg of vision, look at the ego eyes, for example, through the eyes of a hopper-mother, without a thought of rushing to save the svoyeg chick. The importance of this type of retelling was pointed out by many progressive methodologists. In particular, V.V. Danilov wrote: “Most of all, the dissociative ability of the mind is developed by isolating any specific elements from the original, such as, for example, presenting a work from the point of view of one of the characters.”
5. Creative retelling
Creative retellings include retellings with restructuring of the text and with additions from schoolchildren. Of course, in any oral retelling there can be a creative element, but there are retellings in which the students' own contribution is higher than usual. These are creative retellings. In this type of retelling, students are specifically given the task of restructuring or supplementing the text.
The methodology distinguishes several types of such exercises, which are called creative:
retellings with creative additions (adding fictional episodes, details; inventing a plot, a denouement)
verbal drawing (illustration)
dramatization (composing dialogue based on a read work of art, role-playing, stage performance; drawing up a script for a story)
A retelling with creative additions to the text can be introduced when schoolchildren well understand the content of the story and know all the circumstances in which the action takes place.
Additions can be very diverse. A schoolchild can talk about his own experience (for example, the story “The Living Hat” by N. Nosov and the poem “My Puppy” by S. Mikhalkov; a second grader can add a story about his dog or cat), or talk about episodes that are not in the textbook, but the student knows them from a movie or from a completely read work (for example, a retelling of excerpts from the story “Timur and his team” by A.P. Gaidar).
Children are especially attracted to such additions in which they can “design” the fate of their favorite characters. Of course, it is not always easy for children to predict it, but schoolchildren’s assumptions reflect their own life positions, their own experience. After all, the added facts are taken from life or from other sources, plus their own relationship to what is told.
To develop creative imagination, increase the emotional level of perception of literary text and activate students' vocabulary, verbal drawing (illustration) is also used. Asking questions like: “How do you imagine the situation at such and such a moment of action? Imagine that all this is drawn in a picture. Tell it as if all this is before your eyes.” The teacher suggests verbally drawing pictures of the text. As a rule, verbal pictures (mainly oral) are “drawn” to those episodes that are most significant in understanding the ideological intent of the story; Portraits of heroes and descriptions of nature can also be illustrated. To get a picture plan that reflects the most important moments of the work, “draw” 2-3 paintings-illustrations.
You can offer the student an imaginary film adaptation, i.e. it is necessary to imagine as if the story is passing before their eyes on the screen and verbally draw a series of frames. Usually, an imaginary film adaptation is carried out with the participation of many students, they give their own versions of shots, and complement what is said by their friends.
One of the complex, but very interesting forms of creative restructuring of the text is its dramatization. The essence of dramatization is to convey the events of the story in dramatic form. It is advisable to dramatize texts in which the setting is relatively simple, and dialogue occupies a significant place (mainly stories and tales, as well as some fables containing dialogue).
Reading by roles is like a transitional step from ordinary reading to dramatization. The presenter briefly outlines the situation against which the action takes place, and the children convey only the dialogues.
All types of creative retelling require “getting into the role”, a relaxed atmosphere and a good mood for students. Then one of the most important principles of learning at school will be realized - the principle of student interest in educational work.
Creative retellings are not used very often, only where they are appropriate. It is important to build systematic work on this type of retelling so that they are not episodic, but are carried out constantly, are not imposed on students, but are carried out at the request of the students. To do this, the teacher must push the children to a creative idea.
As mentioned above, retellings teach you to convey what you read, hear, and your thoughts correctly, completely, and logically. But what is meant by these words? There are general (most specific) features characteristic of the oral form of language, in accordance with which a junior schoolchild should not make mistakes in word arrangement, word order, repetition of individual words, phrases and parts of sentences , should not interrupt, use “syntactically incomplete sentences”, and “break the syntactic framework of the phrase.” And also: to dissect statements, i.e. widely use attached and inserted constructions, introductory words, repeat prepositions before a positive definition (“... skated on figure skates,” “... stung, but with difficulty, but with more”) and reproduce direct speech, maintaining only the use of the shape of the face . Of course, it is impossible to immediately teach a student to correctly construct phrases, its communicative center and its predicative bases. This is why it is important to use selective retelling. From a linguistic point of view, it performs an important function, without overloading with textual information, it teaches how to construct sentences correctly, not to repeat yourself, not to interrupt, not to miss facial changes, etc. But this type of retelling will be used as preparation for working with a detailed retelling. A detailed retelling is carried out in connection with the work being studied and at the same time serves as a method of analyzing this work, especially as a method of working on the language and construction of the work. The same can be said about creative retellings, which force the student to “read the work, think about the text, look closely at the artistic details, select the necessary material from the work in accordance with the task, help to understand the composition of the work, understand the plan and meaning of the work.” parts in it, attracts the student’s attention to the language of the work.”
In linguistics, despite the existence of different points of view, there are 2 types of language: colloquial and bookish. And although when teaching a language the main task is to teach children to “use the forms and structures of book speech in oral speech,” it is necessary to work on the oral style of speech, which is often not studied in the classroom. But children often do not know how to talk about what they have experienced, heard, seen, read freely and naturally. They do not always master intonation, transferring the monologue learned during learning reading techniques in oral speech. Creative retellings make it easier to develop students' speaking skills. This is especially true for retellings, where the creative element is very high - these are retellings with creative additions. On the one hand, the child must take into account the language of the text being retold, and on the other hand, he does not need to strain himself, trying to convey the bookish, printed text, he just needs to “get into the role” and then the child will speak in a spoken language, but built according to the norms of linguistics. But, of course, a retelling close to the text will always occupy a dominant role, since the task of teaching the oral form of a literary language, its book styles using emotional-expressive means is solved most fully when working with this type of retelling. After all, the literary language is a processed form of the common language, and it can only be mastered through detailed work, which is carried out when retelling model texts.
Usually in teaching practice, retelling is considered as a result of what has been read, therefore, in order to teach a child to retell, one must teach him to read consciously and work on the text. The more carefully a student’s work on the text, the more specific his idea of what he read and the better he conveys what he read, “translates” it into his own language. What aspects of the work should you focus on when retelling?
First of all, the teacher needs to be based on methods of teaching speech in general. Lvov M.R. highlights:
1. imitation i.e. according to models (which is oral retelling, as a school of language, style, composition, skill in expressing thoughts);
2. communicative i.e. presupposing the need for a statement.
3. a method of constructing a text, based on analytical skills (in particular, various types of linguistic analysis).
1. The child’s speech should be a living one, not a memorized example.
2. Use of vocabulary, figures of speech and syntactic structures of the example.
3. Maintain the style of the pattern or provide precise instructions to change it.
4. Compliance with the sequence of the original, cause-and-effect relationships, transmission of all basic facts and descriptions.
5. Reflection of the child’s feelings through the expressiveness of his speech.
As a rule, a retelling is specially prepared, and for this purpose the following traditional working methods are used:
warning students that the story should be retold in detail, close to the text (or condensed);
conversation - analysis of the content, highlighting the topic (what is mainly communicated) and ideas (what the author suggested to think about);
practicing expressive reading;
dismembering the story, highlighting parts, main pictures-episodes, titling them, drawing up an outline of the text intended for retelling;
retelling of fragments, preliminary retelling, analysis of its shortcomings;
turning to similar cases, connecting what they read with the students’ own experience.
We can say that earlier at school the emphasis was on the formation of knowledge, consolidation, further improvement of the skills of conscious, correct, fluent and expressive reading and, on this basis, the ability to work with the text of a work and read books independently. The main questions when working on oral speech:
1. Orthoepia
2. Expressive reading
3. Developing listening skills.
These questions have not lost their significance today, but in primary school programs, work is especially deepened on: distinguishing the features of genres, means of expression, means of expressing the author’s point of view, the main idea, the plot.
But, despite the reorientation of aspects of the work, the traditional method of organizing work on the retelling is built into the following system: reading, dictionary work, analysis of the content and language of the work, dividing the text into parts, naming the parts, defining words in each part that reveal the main idea of each part, drawing up a plan, retelling (E.A. Adamovich, V.I. Yakovleva, E.S. Petrunina, M.I. Omorokova, M.P. Toshchak, etc.). However, modern authors introduce other working methods. Thus, T.A. Ladyzhenskaya says that in order to teach schoolchildren how to create a text, the following is used: analysis of texts, drawing up a diagram, plan, working materials, editing texts, setting a specific speech situation (i.e., clarifying the addressee’s task, the circumstances of the utterance) ; discussion of the first versions of oral statements, etc. Thus, the optimal method for organizing work on retelling, in our opinion, is the following:
1. Anticipation (motivational attitude: why will we work with the text)
3. Vocabulary work
4. Analysis of the content and language of the work
5. Dividing the text into semantic parts
6. Titles of parts
7. Definition in each part of words, expressions and images that reveal the main idea of each part
8. Making a plan for the retelling
9. Retelling
10. Editing (self-editing) aimed at identifying speech errors and non-speech errors
The teacher can choose his own form of organizing each stage of work on the retelling, taking into account the chosen program and the requirements for the knowledge, skills and abilities of schoolchildren. But certain standards are inevitable. There is no doubt that the quality of the retelling depends on how the text is read and parsed. And observations show that retelling goes better if the text is read immediately by children. The process of reading a text by a teacher deprives the student of problems: in the future, when he reads on his own, he is no longer interested.
It is inevitable that stories are read several times in class, so each subsequent reading should be accompanied by some kind of task. The teacher either asks questions about the content or for the purpose of vocabulary work.
“Putting forward more and more new tasks during repeated reading not only enlivens it, but also allows you to introduce a creative element and humorous additions.
It happens that during the retelling it is necessary to return the student to the text so that he himself discovers his mistake. Such rereading is also meaningful, problematic and therefore especially useful.”
Methods of vocabulary work when working on a retelling can be varied: revealing the meaning of a word by showing an object, using an explanatory dictionary of the Russian language, synonymization (expansion of the child’s passive vocabulary through new, previously unknown words to students and an increasingly wider range of words). o translating them from passive to active vocabulary ), morphological analysis of words (thinking about the semantic meaning of their constituent morphemes), familiarity with the polysemy of words (direct and figurative meaning), periphrasis (familiarity with phraseological turns), use of context and others. Of course, in each case it is recommended to use the most appropriate technique, but the main thing is that you should not limit yourself to just the teacher’s explanation of the word.
Analysis of the content and language of the work is carried out in order to facilitate the reproduction and understanding of the text, as well as to ensure that children use figurative means, figurative expressions, and phraseological units when retelling. Analysis of oral texts is the most valuable stage of work, since for the development of students’ speech, what is didactically important is not so much the resulting product itself (retelling), but the process of obtaining it. According to another opinion (A.I. Shpuntov and E.I. Ivanina), analysis of a work should be aimed at identifying its ideological content, the main idea that the author seeks to convey to his reader, at identifying the artistic value of the work. Another aspect should be taken into account here: figurative analysis. If it is absent, then the reader perceives only the main actions of the heroes, follows the progress of the plot and misses everything in the work that complicates it. M.S. Soloveichik, O.I. Nikiforova write that with a defective mechanism of perception, readers, even from a truly artistic work, learn only its plot scheme and abstract, schematic ideas about its images, that is, approximately the same as from books of little fiction. That's why M.S. Soloveichik, agreeing with A.A. Leontiev, speaks of the need to teach children “thinking” perception, the ability to reflect on a book, and therefore, about a person and about life in general. Adequate perception is formed in the process of analyzing the work, which should be a joint (teacher and students) thinking out loud, which over time will allow the development of a natural need to understand what has been read.
Often schoolchildren do not know how to start and learn the first phrase by heart, and also reproduce the first parts in detail and accurately and distort the final ones. For this purpose, the text is divided into semantic parts, the parts are titled and the words that reveal the main idea are identified in each part. “The narrator is forced to highlight the main thing in each part and retell each part in more detail.” And finally, a story plan is drawn up (usually based on dividing the text into parts). This stage of work is important because, with further education in high school, the ability to make plans is necessary for students, because a plan is a kind of result of understanding the composition of a work, it develops logical thinking, helps to reveal the ideological content through the actual oral retelling. Quite often one can encounter such a phenomenon in the practice of elementary school work, when, when analyzing a child’s answer, not only the fact of the description that has taken place is positively assessed, but the number of sentences received during the description and the quality of their actual connection with each other is not taken into account. Those. the focus is on the content side of speech, and the linguistic operations themselves to combine sentences with each other are not predicted. But for students’ retelling to be coherent, it is necessary to help them not only determine what to talk about, but also how to talk.
After all, one should distinguish between working on an ordinary text and the text of a literary work. A plan is drawn up for the text, according to the plan it is retold, and in a literary work a special structure is the plot: introduction, development of the action, actions of the heroes and their motives, climax of the action, ending. The structure of a plot work includes episodes - completed passages (or parts) of the text. And, of course, special attention should be paid to artistic means - epithet, comparison, personification, allegory.
Teaching detailed retelling begins with narrative texts with a clear plot. Children then learn to include elements of description (for example, sketches of nature, appearances of people, and descriptions of objects) and elements of reasoning in the retelling.
The most common question that students need to ask when teaching retelling is: “How is this thought expressed (how is it said?) in the writer’s text?”
If the teacher wants to bring the retelling closer to the conditions of natural speech of students, then you need to select a text with dialogue, which is first read in person.
It is interesting for a student reteller to speak when the whole class is listening to him, and not just the teacher. Only then will the retelling be lively and interesting. A request to repeat some passage, additions to the retelling made by comrades - encourages the narrator, creates a creative atmosphere in the class.
Questions play a certain role in a detailed retelling. But content questions reduce the level of independence of students, so it is necessary to gradually reduce the role of questions, and the questions themselves should become broader, more general.
You should pay attention to words and figures of speech from literary texts. Not all linguistic means reproduced in the retelling must necessarily be used in the independent speech of schoolchildren, but only the most important and vivid ones. Otherwise, the child soon forgets them and does not enter them into his active vocabulary, since he will not have to speak or write on topics that require these words (for example, words such as “proclamation”, “Cossack post”).
However, it is advisable to use some figurative means in retelling, since they form a sense of language in children, develop metaphoricality, imagery of speech in general (for example, “For a long time you could hear their wings ringing.” L. Tolstoy, “Swans”). Therefore, the teacher needs to treat the figurative means of language with care and carefully think through their skillful, successful reproduction.
Of course, with a detailed retelling, illustrating the text will be an effective technique. Illustrations help the child recreate the situation in his imagination, make the content more visual, and influence his creative and emotional level.
“Elements of a short retelling are introduced in the first grade. In the process of analyzing the text they read, children are asked to express one part of it briefly, in one sentence. Then, in the retelling, it is proposed to briefly convey two parts, then briefly convey the meaning of the entire work.”
“You should not demand that every point of the plan be expanded upon in a condensed retelling. Such a requirement can lead to mechanical work and will hinder the creativity of students.” If the retelling has an internal connection and conveys the main content of the story, then complete coincidence with the points of the plan is not required.
Thus, having analyzed the state of the issue under study in the methodology of teaching the Russian language and literature, we can state that the development of the methodology for teaching retelling is insufficient and incomplete. It does not take into account new approaches and innovation of the learning process. The traditional methodology, developed 30-50 years ago, is not supplemented or specified; the teacher has to independently build a complete methodology and content of the work. The criteria for assessing the retelling have not been selected, and the methodology for working on each type of retelling has not been worked out; the significance and place in the teaching system of only the main types (detailed, condensed, selective, creative) are taken into account, and such types as retelling of the text heard, perceived by ear or visually are discussed , but attention is not focused on them, which is a negative point in the light of developmental education. We will try to highlight those aspects of work that are emphasized in each didactic system and consider them in the next part.